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HISTORY OF CINCINNATI, OHIO - 225


whatever time might be asked by the trustees, the amount bearing interest at seven per cent., and secured by mortgage. It looked now as though the much-wandering institute would get at last a permanent home.


The history of the efforts of the members of the institute for intellectual improvement during its first quarter-century includes an unsuccessful attempt made in the winter of 1833-4 to organize a course of lectures on the History of Letters, by Professor C. E. Stowe, of Lane Seminary; two lectures per week by Dr. Craig during most of 1835, one course of which was delivered to ladies; and lectures from time to time by Dr. John Locke. No regular course was delivered for several years, owing to the limited interest taken in them and the pecuniary embarrassments of the institute, and the want of a proper hall; but in the winter of 1844-5 a profitable course was pronounced in the college hall by Mr. U. T. Howe and Mr. C. P. Cranch. Various other lectures was delivered, and sundry classes formed; but it would be tedious to follow their history in detail.

Early in 1838 arrangements were actively made for the first exhibition of manufactured articles, under the auspices of the institute. In February a grand mechanics' and citizens' ball was given at the National Theatre in aid of the enterprise, which netted for it about two thousand four hundred dollars. The fair was held May 3o and 31, and June t, 1838, in the Bazaar building, and proved a worthy pioneer in the long line of Cincinnati industrial expositions. About four hundred articles were shown, the products of western artisans, crowding all available space in the building. A pleasing incident of the occasion is thus related by one of the older writers:


The hall of the institute [the Trollopean Bazaar] occupies the site on which Fort Washington was built in 1789, to defend the first settlers of this country against the Indians. General Solomon Van Rensselaer, who had been stationed at that fort in 1792, being in this city on a visit to his former commander and early friend, General Harrison, was, with him, invited to attend the exhibition of the fair. The directors were desirous to improve the opportunity which this exhibition afforded of displaying the proofs of the rapid progress of the arts in the west to those whose youthful energies were devoted to the rescue of these fertile regions from the dominion of those savage barbarians whose occupation of them was incompatible with any improvement in the social condition of their inhabitants which benefit or the sciences which enlighten mankind. They were aware that the best reward the patriot soldier can receive is that of witnessing the blessings which his labors, privations and sufferings have contributed, through the blessings of Providence, to procure for his country. General Van Rensselaer expressed the high4st gratification in being enabled, after an absence of so large a portion of his life from the scenes of the toils and dangers of his early years, to witness the marks of rapid progress of civilization and refinement in the country which he remembered as the hunting-ground of the savage. It was a pleasing circumstance, in the decline of life, to be recognized as one of the early benefactors of this fair and fertile land.


An address was delivered during the fair by Mr. J. C. Vaughan, a prominent editor of the city, and Mr. E. D. Mansfield closed it with remarks on "the mechanic arts as an essential element in the continual happiness and progressive elevation of the human mind." Exhibitions of art and industry were held annually thereafter by the institute, with occasional interruptions, the first twelve of them yielding considerable revenue to the society for those days, the yearly profits therefrom being six hundred to twenty-five hundred dollars. The exhibition in 1843, after the lease of the Bazaar to Dr. Curtiss, was held in College hall, where music was furnished gratuitously by the Amateur Musical society.


March 8, 1847, following the grant of the amended charter by the legislature, the institute adopted a new constitution, substantially the same as now governs the society, and published it with the new charter.


The cornerstone of the building now occupied by the institute was laid on Independence day, 1848, with fitting ceremony, under the direction of Nova Caesarea Harmony Lodge of Free and Accepted Masons. A heavy debt was soon incurred. The subscriptions of the citizens were quickly exhausted; cholera was prevalent, and more could not be had, and the trustees were compelled to assume debts and borrow money on their personal credit, or let the work stand still. They persevered, however, and finished the building within a reasonable time. By the opening of 1854 the debt of the institute amounted to forty-nine thousand three hundred and ninety-one dollars. Two of the principal creditors, members and trustees of the institute, Miles Greenwood and Marston Allen, offered to cancel the debts due them—twelve thousand four hundred and seventy-six dollars and seventy-three cents to the former, and five thousand three hundred and forty-nine dollars and fifty-five cents to the latter—if about thirty thousand dollars were raised to pay the debts against them as trustees. An attempt was made to secure the sum within the specified period, by an appeal to the mechanics of Cincinnati; but it met with little response, and, but for an extension of time by Greenwood and Allen, their munificent gifts must have been lost. A more general effort was now made, reaching the mercantile, professional, and other classes of the community, from whom a subscription of twenty-six thousand two hundred and fifty-eight dollars was soon obtained. Brat a financial crisis came upon the city, one of the worst in its history, and many of the subscriptions proved uncollectible. Still more time was given by Greenwood and Allen, and from the subscription sixteen thousand four hundred and ninety dollars and eighty-six cents were realized, making the total reduction of the debt thirty-four thousand three hundred and seventeen dollars and fourteen cents.


About this time Dr. J. M. Locke delivered a course of twenty-four lectures on chemistry aad natural philosophy to the institute and public, and Barnum gave a lecture on "Humbug." A society of the younger members was formed, called the "Philomathean," for intellectual culture; but it was short lived.


The thirteenth exhibition of the institute was given May 9-25, 1854, and netted a profit of one thousand and forty-eight dollars and sixty-six cents. It was the first one held in the new institute building. The fourteenth, May 9 to June 2, 1855, netted five hundred and fifty dollars and thirty-one cents. The committee in charge reported that, in the number of exhibitors and articles displayed, as well as in their novelty and value, this exhibition was superior to any previous one held by the institute, and the premiums awarded are not only greater in number, but also mostly of the higher grades.


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During the year 1855-6, Dr. Locke delivered another elaborate course of lectures on chemistry and physics; Dr. W. W. Dawson, eight lectures on geology, and Professor John Locke a short course on "Animated Nature." The, lectures were not a financial success.


The next year a highly favorable arrangement was made with the board of education of the city, by which the Mechanics' institute and Public School libraries were consolidated in the building of the institute, a part of which was leased to the board for ten thousand dollars. The institute was also thus relieved from the cost of care and issue of its own library, and of gas, fuel, etc., for library and reading rooms. The debt on the building and lot was completely cleared, and only some minor and easily managed indebtedness remained. The trustees according surrendered their trust, and made a clear deed of the property to the institute. December 16, 1856, due acknowledgments were made and honors rendered to Messrs. Greenwood and Allen, by electing them as a board of emeritus trustees and advisory directors for life. The next March Mr. John P. Foote was added to this board, in token of his long service as president and his usefulness otherwise to the institute.


During 1856 the plan of a mechanical museum for permanent exhibition was under the advisement of the directory; but not much interest was manifested by others in the project, and it had to be dropped. The school of design, however, was organized in the fall of that year, and has since been prosperously maintained, the total enrollment to the year 1879, inclusive, being four thousand four hundred and twenty-five.


The lecture arrangements for the season included the novelty of two brief lectures on different topics the same evening—twenty-six lectures on chemistry by Professor E. H. Foote, and the same number on anatomy and physiology by Professor W. W. Dawson, on Thursday and Friday evenings, with thirteen lectures on physics, and as many on geology, by the same gentlemen, on Wednesday evenings. The new feature failed to draw, however, and again the courses proved a financial failure.


The Young Men's Polytechnic association of the Ohio Mechanics' institute was organized about this time, and continued with much success during the winter of 1856-57; but did not survive beyond the second season.


The fifteenth exhibition of the institute was held September 10 to October 8, 1857. An additional building—the frame work of gas-pipe and the roof of sheet-iron, attracting much attention from visitors—was erected for it ; and the large expense (eight thousand dollars) thus incurred resulted in a net loss of three hundred dollars. It was thought, however, to have been the most successful and important of any exhibition ever held in the west. Lectures were delivered during the next winter by Professors Zachos, Vaughn, Ward, Warriner, and Allen, Dr. Samuel Silsbee, and Messrs. W. M. Davis and J. R. Hamilton. The attendance upon them was still small.


In 1858, the outstanding indebtedness, one thousand eight hundred and twenty-seven dollars and sixty-two cents, was paid—the institute thus, in little more than four years, accomplishing the superb feat of clearing over fifty thousand dollars debt. The sixteenth exhibition, held September 6th to October 2d of this year, yielded a profit of one thousand six hundred and eighty-eight dollars. The seventeenth, occupying the entire month of September, 1859, lost the institute nearly two hundred dollars, though receipts were over five thousand dollars. It was held in Pike's Opera house. During this year important improvements and repairs were effected upon the building, and a large increase made in the periodicals provided for the reading-room. The opening lectures of the courses proposed for the winter were so poorly attended that the rest of the programme was given up altogether.


A special effort was made for the eighteenth exhibition, which proved to be the last under the auspices of the institute, and it netted a profit of three hundred dollars. The large building erected for the Catholic institute was used, as well as the building of the Mechanics' institute. Fifteen hundred dollars were given in awards. The winter lectures were again omitted.


Then came the war, No exhibition, no lectures, nothing new, could now be undertaken. Rents in the building were reduced, and the revenues of the institute became very small. Attendance upon the school of design decreased so much (to less than one-third of the former number), that at one time its temporary suspension was seriously contemplated. "The main duty of the board," says the Historical Sketch, "was to keep the institution free from debt, and work quietly along the different branches of the same." The school of design was continued, and in 1862 moved from Greenwood hall into the fourth story of the institute building, which had been vacated by the Eagle lodge, Independent Order of Odd Fellows. This change gave the board the large hall to rent for exhibitions, concerts, etc. In 1863-4 the attendance upon the school increased to one hundred and fifty and the institute treasury gained a balance of more than one thousand seven hundred dollars, after paying over eight hundred dollars for improvements in Greenwood hall. The balance in March, 1865, had increased to three thousand and forty-nine dollars and fourteen cents, and there were no debts. After the war the association prospered, financially, and by March, 1866, had four thousand dollars invested in United States bonds. Repairs and alterations were made the year before to the amount of two thousand three hundred and forty-five dollars and eighteen cents, and improvements costing one thousand six hundred dollars the next year. In 1866-7 the school of design had two hundred and eighty members; the treasury balance increased to seven thousand dollars, and lectures were delivered by Rev. Drs. A. D. Mayo and I. W. Wiley, and Professor Daniel Vaughan. About seven hundred dollars were now spent annually for reading matter, mostly technical and scientific. Classes in natural philosophy and chemistry were organized the next winter, with lectures upon the respective topics by William M. Davis and J. F. Wisnewski, but neither class instructions nor lectures were well attended. The large hall was entirely remodeled, and fine portraits of them-


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selves given for it to the institute by Messrs. Charles F. Wilstach, Miles Greenwood, and Marston Allen. It was the most prosperous year known in the history of the school of design, the attendance reaching two hundred and eighty-eight. The next year found nine thousand dollars in the treasury. There were no lectures, but the school of design was still highly successful.


In April, 1868, a circular was issued by the institute and sent far and wide, proposing a "grand exhibition of arts and manufactures" in the Queen City Skating Rink, in September of that year ; but of five hundred persons and firms to whom it was sent, only twenty-six returned responses, and the project was therefore abandoned.


August 12, 1868, Mr. Marston Allen, an emeritus director of the association, died in the eightieth year of his age. He was much mourned by the members of the institute and citizens in generally.


In 1869-70 important changes were made in the storerooms on the first floor of the institute building, whereby the rents were increased six hundred and fifty dollars a year. The balance in the treasury March, 1870, was twelve thousand one hundred and thirty-five dollars and twenty-four cents. A resolution was adopted October 5, 1869, for the holding of a grand industrial exhibition during the fall of the next year—a movement which, with the co-operation of the chamber of commerce and board of trade, resulted in the magnificent series of expositions held that year and since, whose history is detailed elsewhere. The public library removed to its own building during the year 1869-7o, and, after considerable negotiation and calculation, the institute paid to the board of directors the amount of the lease money agreed upon July 31,1856, ten thousand dollars, less one thousand five hundred dollars for books of its library lost or damaged, for the cancellation of the lease. In 1871-2 a new roof was placed upon the institute building, and other improvements made—all together costing the society two thousand seven hundred dollars. Further changes were made 1873-4 in the Vine street stores of the building, to the value of one thousand and fifty dollars, and repairs were made to the main Ball the next year, involving an expenditure of more than three thousand dollars. A class in natural philosophy was organized the next year, but not with much success. At the exposition of 1875 the institute offered large special premiums of its own for the best cut off stationary steam engine, and for the best stationary steam engine, slide valve, not less than twenty-five nor more than seventy-five horse-power. In 1876 another temporary investment was made by the institute of two thousand dollars in Federal securities. The next year, partly as a means of escape from the halls in case of fire, being warned by the then recent terrible calamity at Brooklyn, the stairways and entrances to the halls from the different floors were thoroughly remodeled, and several new ante and wash-rooms were provided, with a costly steam apparatus for heating. About ten thousand dollars were expended on these improvements. When the great Music hall was projected the institute gave one thousand dollars towards its erection, and afterwards five hundred toward the construction of the wings, or Exposition buildings proper.


In the fall of 1878 the directors of the institute organized a new "department of industrial improvements," for the purpose of examining into the merits of alleged new improvements in the industrial arts, and conferring awards upon such as, after thorough investigation, are found worthy; this action, the prospectus of the department says, "being taken in furtherance of the original objects of the Ohio Mechanics' Institute, viz.: 'To promote improvements in manufactures and the mechanic arts."


November 20, 1878, occurred the semi-centennial anniversary of the foundation of the institute. It was in contemplation to have a formal observance of this day, with fitting ceremonies ; but it was finally determined instead to issue an historical sketch of the society, as had been done at the quarter-centennial, twenty-five years before. It contains about one hundred pages, and represents very creditable work, in the points of industry and literary skill. We have found it invaluable in the preparation of this synopsis.


The School of Design was very successful during the year 1878-9, its enrollment mounting to two hundred and twenty. A system of awards for attendance and other merits was introduced, in the shape of medals and certificates of progress, and worked well. An agreeable incident of the year was the complimentary entertainment, consisting of instrumental and vocal music, recitations, sketches, etc., tendered to the school and its friends on the evening of January r r, 1879, in Grenwood hall—an affair which passed off very happily.


During 1879-80 the enrollment was two hundred and thirty-five, and ten teachers were in charge. The system of awards was continued with success, and gold badges of chaste and appropriate design were added to the medals and certificates. The announcements for the twenty-fifth annual session of the school, which began October 22, 1880, set forth three departments—mechanical, for machinists, metal workers, pattern makers, founders, blacksmiths, etc.; architectural, for carpenters, masons, wood workers, builders, etc.; and artistic, for free-hand drawing, perspective, crayon, etc., for painters, plasterers, carvers, gilders, cabinet-makers, etc.—besides special classes in original designing, for advanced pupils in drawing and for instruction in designing as applied to manufacturers; modeling in clay, as applied in the several branches of industrial art; and drawing from life. Mr. John B. Heich has been principal for a number of years of this very useful arm of the institute's work.


Still another interesting feature was added to the institute in early December, 188o, by the organization of a department of science and arts, to which admission may be had for the small sum of three dollars. Several professors of the university and other prominent scholars in the city signified at once their intention of joining it.


During 1879-80 there were kept on file in the .reading room one foreign and fourteen domestic dailies and twenty-six weekly papers, and sixteen monthly periodicals, mostly technical. "The board of directors espe-


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cially request," says their announcement, "a general use of the reading room," yet, to prevent growing abuses, it was resolved this year to welcome none to its benefits except those possessing cards of admission, which can be obtained by any well disposed person simply upon application to a director, and are good for six months, renewable thereafter, on continued good behavior of the recipient.


The financial condition of the institute, after all its vicissitudes and pecuniary dangers, is sound and safe. During the fiscal year 1879-80 there were received, on account of rents alone, seven thousand nine hundred and eighty-nine dollars, from memberships six hundred and eighty-nine dollars, and small amounts from other sources. The “Day will trust fund," a sum in the hands of the to treasurer for the benefit of the institute, amounted to three thousand one hundred and forty-eight dollars and fifty-four cents, from which substantial benefits were realized. A satisfactory balance was in the treasury at the close of the year; the institute was practically far out of debt; and its future was radiant with promise. It has bad a notable past, and it will have a yet more noteworthy future.


The leading officers of the institute, since its organization, have been as follows:


Presidents-1828 to 1847, John P. Foote; 1847 to 1854, Miles Greenwood; 1854 to 1871, Charles F. Wilstach; 1871 to 1881, Thomas Gilpin. It is thus seen that, during the fifty-two years of the society's existence, it has had but four presidents, with an average terra of thirteen years each.


Vice-Presidents—Calvin Fletcher, 1828-39; George C. Miller, 1840-41; G. Muscroft, 1841--2; W. S. Merrill, 1843-4: Jacob Ernst, 1844-5; Joseph G. Rust, 1846-7; Benjamin Bruce, 1847--51; R. C. Phillips, 1851--2; Charles F. Wilstach, 1852-3; George Graham, 1853-4; William Huddart, 1854--6; George D. Winchell, 1856--8; H. H. Smith, 1858-9; E. M. Shield, 1859-60; H. E. Nottingham, 1860--I ; Isaac Greenwald, 1861--2; Andrew Erkenbrecher, 1862-3: Eli C. Baldwin, 1863-6; Isaac Greenwald, 1866--9; P. P. Lane, 1869-7I; John F. Wiltsee, 1871-2; James Dale, 1872--81.


Secretary—D. T. Disney, 1828-9 and 183o-1; John L. Talbot, 1829-3o, 1831-2, 1837-8, and 1841-2; John Laughlin, 1832-4; Clement Dare, 1834-5; Joseph Gest, 1835-6; 13. Fisher, 1836-7; L. T. Wells, 1838-9; Robert Lawson, 1840-I; 1841-2, Charles W. Thorp (to fill vacancy caused by resignation of Mr. Talbot); Thomas G. Shaeffer, 1842-4, and 1845-7; J. W. Applegate, 1844-5.


Recording secretaries—J. L. Whetstone, 1847-9; Henry M. Ritter (vice Whetstone, resigned); H. W. Stephenson, 1849-5 and 1854-5; J. W. Thomas, 1851-2; W. G. Neilson (vice Thomas, resigned); George W. Kendall, 1852-3; James A. Semple, 1854-5 (vice Stephenson resigned); C. D. Meader, 1855-6; Caleb C. Whitson, 185661; W. W. Innes, 1861-2; Hugh McCollum, 1862-72; E. A. Townley, 1872-3; H. W. Stephenson, 1873-9; 1879-81, W. B. Bruce.


Corresponding secretary—John B. Foote, 1847-8; John G. Anthony, 1848-50; John L. Whetstone, 1850-1, 1852- 3, and 1854; W. B. Chapman, 1851-2; George W. Kendall, 1853-4; A. L. Burke, 1854-8 (1854-5 vice Whetstone, resigned); John F. Wiltsee, 1858-9; B. R. Alley, 1859-60; W. W. Innes, 1860-1; W. P. Swain, 1861-2; George T. Jones, 1862-3;. A. Erkenbrecher, 1863-6; Thomas Gilpin, 1866-71; Frank Millward, 1871-8; P. P. Lane, 1878-9 (to fill vacancy caused by death of Mr. Millward); Harvey Jones, 1879-81.


Treasurer—Clement Dare, 1828-9, and -1830-4; Luman Watson, 1829-30; George Graham, 1834-6; Joseph Gest, 1836-7; G. C. Miller, 1837-4? J. L. Talbot, 1840-I; James Pearce, 1841-2, 1843-5, and 1846-8; John W. Applegate, 1845-6; H. W. Stephenson, 1848-9, 1858-9, and 1871-2; J. A. James, 1849-50; L. T. Wells, 1850-2; Benjamin Bruce, 1852-4; W. B. Chapman, 1854-8; John T. Wiltsee, 1859-71; Hugh McCollum, 1872-81.


Clerk of the board of directors—John B. Heich, 1856-81.


The record of officers-elect for 1839-40 is lost; also that of 1842-3, except as to president and secretary.


THE CINCINNATI OBSERVATORY.


This renowned institution, one of the crowning glories of Cincinnati, owes its origin, in the first instance, to the enterprise and energy of just one man—a young lawyer and teacher named Ormsby M. Mitchel. While serving as professor of mathematics, natural philosophy and astronomy in the Cincinnati college, he found his instructions seriously hampered by the lack of a sufficient equipment of apparatus; and his plans for its procurement gradually grew in his teeming brain until they included the magnificent project of an astronomical observatory, with one of the finest telescopes in America and other instruments and apparatus to correspond. He began in the spring of 1842, by an effort to excite the interest of the local public in astronomy by a series of lectures upon the subject, and faced an audience of sixteen at his opening—a strange contrast to the audience of two thousand which crowded one of the largest audience-rooms in the city upon the repetition of his last lecture. Broaching his project in due time, in three weeks he had secured the formation of the Cincinnati Astronomical society and a subscription of seven thousand five hundred dollars, in three hundred shares of twenty-five dollars each, for an observatory. Mitchel sailed from New York June 16th, of the same year, for Europe, carrying in his heart the hope of a great equatorially-mounted, achromatic, refracting telescope. Not half a dozen glasses fit for such an instrument then existed; but he found an unfinished one, of twelve inches, in the cabinet of Mertz, successor of the celebrated Frauenhofer, at Munich, which he had tested and very thoroughly approved. Notwithstanding scarcely three-fourths of the requisite amount had been subscribed, he had the nerve to close a contract for the mounting of this at a cost of ten thousand dollars, and in a hundred days from the date of starting was at home again, having meanwhile taken time to visit and inspect carefully several of the great observatories abroad, undertake some special studies there, and make some important acquaintances among foreign astronomers. He reported his suc-


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cess to an immense gathering of the members of the association and other friends of the enterprise; and the pecuniary prospects of the scheme decidedly looked up thenceforth. Mr. Nicholas Longworth gave the society permission to select any four acres out of twenty-five of his property on Mount Auburn, to be held for the uses of the observatory. The next succeeding events can best be told in the eloquent words of Professor Mitchel himself, as he tells the story in one of his brilliant lectures:


On the ninth of November, 1843, the corner-stone of the observatory was laid by John Quincy Adams, in the presence of a vast multitude, with appropriate ceremonies, and followed by the delivery of an address replete with beauty and eloquence. The season was too far advanced to permit anything to be done toward the erection of the building during the fall ; and, indeed, it was not the intention of the board of directors to proceed with the building, until every dollar required in the payment for the great telescope should have been remitted to Europe. At the time of laying the corner-stone, but three thousand dollars, out of nine thousand five hundred, had been paid. This was the amount required in the contract, to be paid on signing, and the remaining sum became due on finishing the instrument.


The contract having been made, conditionally, in July, 1842, it was believed the great refractor would be shipped for the United States in June, 1844, and to meet our engagements the sum of six thousand five hundred dollars must be raised.


This amount was subscribed, but, in consequence of commercial difficulties, all efforts hitherto made to collect it had been unavailing; and in February, 1844, the board of control solicited the director of the obseivatory [Mitchel] to become the general agent of the society and to collect all old subscriptions, and obtain such new ones as might be necessary to make up the requisite sum. The accounts in the hands of the previous collector were accordingly turned over to me, and a systematic effort was made to close them up. A regular journal was kept of each day's work, noting the number of hours employed, the persons visited, those actually found, the sums collected, the promises to pay, the positive repudiations, the due-bills taken, payable in cash and trade, and the day on which I was requested to call again. These intervals extended from a week or ten days to four months. The hour was in general fixed, and when the day rolled round and the hour arrived, the agent of the society presented himself and referred to the memoranda. In many cases another and another time was appointed, until, in some instances, almost as many calls were made as there were dollars due. By systematic perseverance, at the end of some forty days, the sum of three thousand dollars was paid over to the treasurer, as the amount collected from old subscribers. Nearly two thousand dollars of due-bills had been taken, payable in carpenter work, painting, dry goods, hoots and shoes, hats and caps, plastering, bricklaying, blacksmith work, paints and oils, groceries, pork-barrels, flour, bacon, and lard, hardware, iron, nails, etc.; in short, in every variety of trade, materials, and workmanship. The due-bills, in cash, brought about five hundred dollars in the course of the next thirty .days, and a further sum of three thousand dollars was required for the last remittance to Europe.


It was determined to raise this amount, in large sums, from wealthy and liberal citizens who had already become members of our society. The list first made out, and the sums placed opposite the names of each person, is now in my possession. Gn paper the exact amount was made up in the simplest and most expeditious manner; eight names had the sum of two hundred dollars opposite them, ten names were marked one hundred dollars each, and the remaining ones fifty dollars each. Such was the singular accuracy in the calculation that, when the theory was reduced to practice, it failed in but one solitary instance, One person, upon whom we had relied for two hundred dollars, declined absolutely, and his place was filled by another.


I called on one of the eight individuals marked at two hundred dollars, and, after a few moments' conversation, he told me that, in case one hundred dollars would be of any service to me, he would gladly subscribe that amount. I showed him my list, and finding his name among those reckoned at two hundred dollars, he remarked that he would not mar so beautiful a scheme for the sum of one hundred dollars, and accordingly entered his name in its appropriate place.


At a meeting held in May, of the board of control, the treasurer reported that the entire amount was now in the treasury, with the exception of one hundred and fifty dollars. The board adjourned to meet on the same day of the following week, when the deficiency was reduced by the agent to twenty-five dollars, and on the same day an order was passed to remit the entire amount to Barings & Brothers, London, to be paid to the manufacturer, on the order of Dr. J. Lamont, of Munich, to be given on the packing of the instrument. The last twenty-five dollars was obtained, and placed in the treasurer's hands, immediately on the adjournment of the board.


Thus was completed, as it was supposed, by far the most difficult part of the enterprise. All the cash means of the society had now been exhausted, about eleven thousand dollars had been raised, and to extend the effort yet farther, under the circumstances, seemed to be quite impossible. Up to this time nothing had been done toward the building, and after paying for the instrument not one dollar remained in cash to commence the erection of a building which must cost, at the lowest estimate, five or six thousand dollars.


Some two or three thousand dollars had been subscribed, payable in work and materials. Owing to a slight change in the plan of the building, the foundation walls, already laid in the fall of 1844, were taken up and relaid. Finding it quite impossible to induce any master-workman to take the contract for the building, with the many contingencies by which our affairs were surrounded, I determined to hire workmen by the day and superintend the erection of the building personally. In attempting to contract for the delivery of brick on the summit of Mount Adams, such an enormous price was demanded for the hauling, in consequence of the steepness of the hill, that all idea of a brick building was at once abandoned, and it was determined to build of limestone, an abundant supply of which could be had on the grounds of the society by quarrying. Having matured my plans, securing the occasional assistance of a carpenter, about the beginning of June, 1844, I hired two masons, one of whom was to receive an extra sum for hiring the hands, keeping their time, and acting as the master-workman. One tender to these workmen constituted the entire force with which I commenced the erection of a building which, if prosecuted in the same humble manner, would have required about twenty years for its completion. And yet our title-bond required that the building should be finished in the following June, or a forfeiture of the title by which we hold the present beautiful site must follow. My master-mason seemed quite confounded when told that he must commence work with such a force. In the outset difficulties were thick and obstinate. Exorbitant charges were made for delivering lime. I at once commenced the building of a lime-kiln, and in a few days had the 'satisfaction of seeing it well-filled and on fire ; true, it caved in once or twice, with other little accidents ; but a full supply of lime was obtained, and at a cheap rate.


Sand was the next item, for which the most extravagant charges were made. I found this so ruinous that an effort was made, and finally I obtained permission to open a sand-pit, which had long been closed for fear of caving down a house on the side of the hill above, by further excavation. An absolute refusal was at first given ; but systematic perseverance again succeeded, and the pit was re-opened. The distance was comparatively short ; but the price of mere hauling was so great that I was forced to purchase horses, and in not a few instances fill the carts with my own hands and drive them to the top of the hill, thus demonstrating practically how many loads could be made in a day.


Another difficulty yet remained—no water could be found nearer than at the foot of the hill, half a mile distant ; and to haul all the water so great a distance would have cost a large sum. I selected one of the deepest ravines on the hill-top, and throwing a dam across while it was actually mining, I had the pleasure of seeing it fill rapidly from the hillsides ; and in this way an abundant supply was obtained for the mixing of mortar, at a very moderate expense of hauling.


Thus prepared, the building was commenced, with two masons and one tender during the first week. At the close of the week I had raised sufficient funds to pay off my hands, and directed the foreman to employ, for the following week, two additional masons and a tender. To supply this force with materials several hands were employed in the quarry, in the lime-kiln, and in the sand-pit, all of whom were hired by the day, to be paid half cash and the residue in trade.


During all this time, I may remark, I was discharging my duties as professor of mathematics and philosophy in the Cincinnati college, and teaching five hours in the day. Before eight o'clock in the morning I had visited all my workmen in the building, in the lime-kiln, sand-pit, and stone-quarry ; at that time my duties in the college commenced, and closed at one. By two o'clock P. M. I was again with my workmen, or engaged in raising the means of paying them on Saturday


230 - HISTORY OF CINCINNATI, OHIO.


night. The third week the number of hands was again doubled ; the fourth week produced a like increase, until finally not less than fifty day laborers were actually engaged in the erection of the Cincinnati observatory. Each Saturday night exhausted all my funds ; but I commenced the next week in the full confidence that industry and perseverance would work out the legitimate results. To raise the cash means required was the greatest difficulty. I have frequently made four or five trades to turn my due-bills, payable in trade, into cash. I have not unfrequently gone to individuals and sold them their own due-bills, payable in merchandise, for cash; by making a discount. The pork merchants paid me cash for my due-bills, payable in barrels and lard-kegs ; and in this way I managed to raise sufficient cash means to prosecute the work vigorously during the months of July and August, and in September I had the satisfaction to see the building up and covered, without having incurred one dollar of debt. At one period, I presume, one hundred hands were employed at the same time in the prosecution of the work, more than fifty hands on the hill, and as many in the city in the various workshops, paying their subscriptions by work for different parts of the building. The doors were in the hands of one carpenter, the window-frames in those of another ; a third was employed on the sash ; a painter took them from the joiner and in turn delivered them to a glazier, while a carpenter paid up his stock by hanging them, with weights purchased by stock and with cords obtained, in the same way. Many locks were furnished by our townsmen in payment of their subscriptions. Lumber, sawing, flooring, roofing,

painting, mantels, steps, hearths, hardware, lathing, doors, windows, glass and painting, were in like manner obtained. At the beginning of each week my master carpenter generally gave me a bill of lumber and materials wanted during the week. In case they had not been already subscribed, the stock-book was resorted to, and there was no relaxing of effort until the necessary articles were obtained. If a tier of joists was wanted, the saw-mills were visited, and in some instances the joists for the same floor came from two or three different mills.


On covering the building, the great crowd of hands employed as masons, tenders, lime-burners, quarrymen, sand and water-men, were paid off and discharged ; and it now seemed that the heavy pressure was passed, and that one might again breathe free, after the responsibility of such heavy weekly payments were removed.


In February, 1845, the telescope came, and the next month was placed in position. The Observatory soon afterwards went into full operation, with Professor Mitchel installed as director, and residing in the building with his family. The structure had been completed in time—by June, 1845—to save the grant of Mr. Longworth, which was conditioned upon its completion within two years from the date of the gift. Mitchel devised two very ingenious and delicate instruments for recording observations in right ascension and difference in declination, and added them to the working apparatus of the Observatory. He received and instructed students, and continued to make astronomical observations with much success. At times, however, his finances were extremely limited; and he had to eke out a subsistence by engineering on the route of the Ohio & Mississippi railroad and by lecturing, in which he finally obtained much renown, and left brilliant memorials in two published volumes. After his departure for the military service, to which he gave his life, the Observatory languished; but after the war its grand opportunity came, in the establishment of the Cincinnati university. For the uses of this institution the Astronomical society tendered the entire property of the Observatory; and it was made a department of the University. By this time, however, the growth of the manufacturing and other interests of the city had wrapped the summit of Mount Adams frequently in clouds of smoke and fog; and there were other reasons for removal to a more retired locality, with more quiet surroundings and a clearer air.


When the situation or the Observatory upon Mount Adams had become unsuitable for its purposes, the heirs of Mr. Longworth united with the Astronomical society in agreeing to transfer the grounds originally given to it by Mr. Longworth to the city, upon the specific trust that it should be sold or leased, and the proceeds applied upon the endownment of the University school of Drawing and Design, and further conditioned that the city should sustain a new observatory, to be also connected with the University. For the establishment of that the Astronomical society presented to the city the equatorial and other instruments collected for the older institution, with all its apparatus and astronomical records and books. The Mount Adams property was leased to the Passionist Fathers, who now use it for a monastery and school, at a ground-rent of three thousand dollars per year, with the privilege of purchase at discretion. Mr. John Kilgour gave a site of four acres, at Mount Lookout, near Oakley, just beyond the northeast corner of the city, for the new observatory, and also ten thousand dollars for building it and supplying a further equipment. Mr. Julius Dexter added a gift of one thousand dollars in 1874. The corner-stone of the new building—the same as that laid by the assistance of John Quincy Adams thirty-five years before, with many of the same articles enclosed—was laid with due ceremony in the spring of 1873; and the edifice went rapidly up, without any of the embarrassments which clustered about the indomitable founder of 1843-5. It was occupied the next year, with Professor Ormond Stone as director, and has since been in successful and useful operation, in the training of students for professorships and astronomical inquiry, and in making observations and discoveries. Among much other good work, the star-measurements of Professor Mitchel, which were still in manuscript, have been reduced and made ready for the printer. A short summer term is held at the observatory, for the benefit of teachers and others who desire to take special studies. Mr. Henry T. Eddy is now professor of astronomy, and Mr. Stone remains director.


THE CINCINNATI SOCIETY OF NATURAL HISTORY.


We adopt in full, for this important society, with some additions, the historical sketch published in the first number of its Journal, April, 1878:


The Cincinnati Society of Natural History was organized, and a constitution adopted, on the nineteenth day of January, 187o, at No. 6 West Fourth street, in the city of Cincinnati. The following persons were enrolled as original members: Dr. F. P. Anderson, Ludlow Apjones, Robert Brown, jr., Dr. R. M. Byrnes, J. B. Chickering, Robert Clarke, Lucius Curtis, V. T. Chambers, Julius Dexter, Charles Dury, C. B. Dyer, John M. Edwards, Dr. H. H. Hill, R. E. Hawley, Dr. W. H. Mussey, R. C. McCracken, Dr. C. A. Miller, S. A. Miller, Dr. William Owens, Henry Probasco, J. Ralston Skinner, Dr. John A. Warder, Dr. E. S. Wayne, Dr. E. Williams, and Horatio Wood.


The society was regularly incorporated on the twentieth day of June, 1870, as shown by church record book, No.


HISTORY OF CINCINNATI, OHIO - 231


2, page 633, of the records of Hamilton county, Ohio.


On the second day of February, 187o, the society met and proceeded to elect permanent officers, Mr. John M. Edwards having presided at the preliminary meetings. Dr. John A. Warder was elected president, which office he continued to fill, by re-election, to the satisfaction of the members, until April 6, 1875. Dr. W. H. Mussey was elected first vice-president, and was continued in the office until April 6, 1865. Mr. Ludlow Apjones was elected corresponding and recording secretary, and served as such until the regular election held April 4, 187 1. Mr. Robert Brown, jr., was elected treasurer; Dr. F. P. Anderson, custodian; Dr. Edward S. Wayne, curator of mineralogy; and Mr. Horatio Wood, curator of botany.


The membership of the society increased very rapidly, and during the summer arrangements were perfected for renting room No. 41 College Building, on Walnut street, above Fourth street, at one hundred dollars per year. The society held its first meeting in College Building on the evening of October 4, 187o. At this meeting Mr. Robert Brown, jr., resigned the office of treasurer, and Mr. Horatio Wood was elected to fill the vacancy; Professor John M. Edwards was elected custodian in place of Dr. F. P. Anderson; and Mr. Charles Dury was elected taxidermist. The society held meetings regularly every month, and at the meeting held March 8, 1871, had the pleasure of knowing that the trustees of the Cincinnati college had remitted the rent, and consented to the occupation of room No. 41 College Building free of charge, save such as would be incurred for light and fuel, until such time as the trustees might find it necessary to use the room for other purposes.


At the annual meeting, held on the evening of April 4, 1871, the treasurer reported that the total receipts of the society to that date amounted to one hundred and sixty dollars, and that there had been expended one hundred and sixty-five dollars and seventeen cents, leaving a balance due the treasurer of five dollars and seventeen cents. The library was reported as containing thirty-five volumes. Previous to this meeting there had been procured for the society five upright cases, all of which the custodian reported were well filled by the specimens of natural history which had been donated by members of the society. At this meeting the officers were elected for the year, with the following changes : Mr. Ludlow Apjones was elected second vice-president; Mr. L. S. Cotton was elected corresponding secretary, and continued to be re-elected annually, and served until April 6, 1875; Rev. R. E. Hawley as recording secretary, in which position he served for two years. Mr. Horatio Wood was elected treasurer, and was continued in the office until he declined to serve longer, April 4, 1875. Dr. H. H. Hill accepted the position of librarian, and was re-elected April 2, 1872, and April 1, 1873. Professor John M. Edwards was elected custodian, and was continued in the position for two years. Dr. R. M. Byrnes was elected curator of mineralogy, which position he has held to the present time. The fine collection and careful arrangement of the minerals in the possession of the society bear witness to the intelligent and faithful work of this officer. Mr. Samuel A. Miller was elected curator of palaeontology, and was subsequently re-elected and continued in the curatorship until April 7, 1874. Dr. H. H. Hill, curator of conchology, who was re-elected the following year; Mr. Lucius Curtis, curator of entomology, who was continued in office until April 1, 1873; Dr. William Owens, of botany; and Mr. Charles Dury, taxidermist, who was twice re-elected, and continued in office until the position was abolished in April, 1874, and the curatorship of ornithology instituted.


The donations of specimens in the various depart ments of natural science being numerous at every meeting, it was found necessary to provide additional cases for preserving the collections.

At the meeting held June 6, 1871, five new upright cases, uniform with those previously in the possession of the society, were procured.


At the meeting held September 5, 1871, the society received from the Western Academy of Natural Science three hundred and fifty-one dollars in money, two hundred and sixty-five volumes of books, and the remnant of its collection, being all of its propertv and effects of every kind then remaining. The money was invested, and has remained at interest since that time. Mr. S. A. Miller read a paper on the "Silurian Island of Cincinnati," which was published the next day in the Cincinnati Enquirer.


At the meeting held on the second day of January, 1872, the society received from Mr. Robert Buchanan one hundred and eleven volumes from his library, and three upright cases with drawers, containing fossils, shells, and minerals. This donation was a valuable acquisition to the society, and was brought about through the generosity of Mr. Probasco and nine other gentlemen, who presented Mr. Buchanan with one thousand dollars, as a partial compensation for his parting with his collection. The society elected Mr. Robert Buchanan an honorary member at the meeting held the following month.


The society assembled for the February meeting in rooms forty-six and forty-eight, College building, which had been kindly placed at its disposal by the trustees of the Cincinnati college, and which the society continued to occupy until it was able to purchase a building and removed to 1 o8 Broadway.


On the fifth day of March, 1872, at a regular meeting, Messrs. Robert Clarke, U. P. James, George Graham, D. E. Bolles, John L. Talbot, S. T. Carley, and Robert Buchanan, surviving members of the Western Academy of science, were duly elected to life-membership in this society, in pursuance of the arrangement made at the time of receiving the donation from the Western academy. Mr. S. A. Miller read a paper on the "Geological History of this Locality, from the Tertiary Period to the present time,"—which was published in the Cincinnati Enquirer of the succeeding day, and was continued at a subsequent meeting of the society and published in the same paper on the seventeenth day of June following.


At the annual meeting held April 2, 1872, the report of the treasurer showed the receipts to have been, from dues of members for the preceding year three hundred and eighty-five dollars, and from the Western Academy


232 - HISTORY OF CINCINNATI, OHIO.


of Natural Science three hundred and fifty-one dollars and forty-five cents. Mr. Samuel A. Miller was elected second vice-president, which position he continued to hold until the April meeting in 1875; and Miss M. J. Pyle was elected curator of botany.


At the meeting held June 4, 1872, Dr. Charles A. Miller was elected curator of conchology, in place of Dr. H. H. Hill, who resigned; and Mr. G. A. Wetherby was elected curator of entomology, instead of Mr. Lucius Curtis, who had also resigned.


The society exhibited a large collection of specimens at the Cincinnati Industrial Exposition, held during the months of September and October of this and the following year. At both expositions the display made by this society attracted much notice, and the section devoted to its use was generally well attended by visitors.


At a meeting held November, 1872, Professor W. H. Mussey presented to the society a large number of skeletons, of domesticated and wild vertebrate animals. He had previously shown his generosity to the society by contributing books, minerals, and other valuable specimens, and has continued to be one of its most steadfast and liberal benefactors down to the present time.


At the annual meeting, held April 1, 1873, it appeared from the treasurer's report that there were one hundred and seventeen members of the society, that the dues collected for the year amounted to four hundred and ten dollars and thirty-six cents, that the expenses had been three hundred and twenty-four dollars and ninety-three cents, and that there remained in the treasury the sum of one hundred and twenty-two dollars and twelve cents, not including the funds received from the Western Academy of Science. At this meeting Mr. John M. Edwards was elected recording secretary; Mr. R. B. Moore custodian, which position he continued to fill until elected president, April 3, 1877; Dr. Charles A. Miller, curator of conchology, who was re-elected the following year; Mr. V. T. Chambers, curator of entomology; Mr. John Hussey, curator of botany; Dr. D. S. Young, curator of ichthyology, a position he has held ever since; Professor W. H. Mussey, curator of comparative anatomy, who was re-elected the following year, At this meeting a resolution was adopted providing for a committee to take charge of a building fund, having for its basis the promise of a contribution of one hundred dollars annually for five years from Mr. Julius Dexter, and of twenty-five dollars per year for a like period from Professor A. J. Howe and Mr. Ludlow Apjones, and of the sum of ten dollars for a like period from Mr. A. E. Tripp and Mr. Horatio Wood.


At the meeting held May 6th, of this year, Mr. Charles H. Browning presented to the society a magnificent collection of marine shells and corals, collected by his father, Lieutenant R. L. Browning, United States navy.


At the meeting held August 5, 1873, Mr. S. A. Miller read a criticism on that part of the first volume of the Ohio Geological Survey relating to the Cincinnati Group of rocks and its fossil contents, which was published in the Cincinnati Enquirer on the seventh day of the month.


The annual meeting in 1874 was held April 7th, when it appeared, from the report of Mr. R. B. Moore, the custodian, that the society had in its collection forty-five hundred specimens of minerals, two thousand palaeontological specimens, five thousand shells, six thousand botanical specimens, four hundred entomological specimens, two thousand archaeological specimens, and one hundred each of anatomical, ichthyological, and ornithological specimens, making a grand total of twenty thousand two hundred specimens. He also reported that the library contained about one thousand volumes. The treasurer's report showed that the society had received during the year: Members' dues, five hundred and fifty-three dollars and ninety-five cents; interest, twenty-one dollars and eight cents; while it had expended four hundred and fifty-six dollars and thirty-four cents, leaving in the treasury the sum of two hundred and forty dollars and eighty-one cents. The report further showed that there had been collected of the subscription to the building fund, three hundred and fifteen dollars, and interest accrued on the same, eleven dollars and forty-seven cents; making the total building fund three hundred and twenty-six dollars and forty-seven cents. At this meeting, Mr. William Colvin was elected recording secretary; Mr. John M. Edwards librarian, who was re-elected the following year; Mr. John W. Hall, jr., curator of palaeontology, in which position he was continued until April 3, 1877; Mr. A. G. Wetherby curator of entomology; Dr. H. H. Hill curator of archaeology, and has been continued in the position ever since; and Mr. Charles Dury curator of ornithology, who continues to fill the. curatorship.


No election for curator of botany having been made at the annual meeting, Mr. Paul Mohr, jr., was elected to the position May 5th, and was re-elected the succeeding year.


Mr. Charles Bodman was elected a member of the society at the meeting held September r, 1874.


The society received a letter at the meeting held December, 1874, from a lady eighty years of age, containing a present of two hundred dollars; and signed "A Friend of Science.” It was ascertained, however, that the generous donor was Mrs. Abbie Warren, residing at No. 299 George street, in Cincinnati.


At the meeting held April 6, 1875, it appeared from the treasurer's report that the receipts from members' dues were five hundred and fifty-eight dollars and thirty cents; from Mrs. Abbie Warren, donation two hundred dollars; and interest on invested funds, twenty-six dollars and eight cents; which, added to the balance in the treasury from the previous year, amounted to one thousand and twenty-five dollars and nineteen cents. The expenditures for the year amounted to five hundred and thirty-one dollars and forty-six cents, leaving a balance of four hundred and ninety-three dollars and seventy-three cents; of this latter sum four hundred dollars had been placed at interest. In addition to this the sum of three hundred and fifty-one dollars and forty-five cents, which was received from the Western academy, was safely invested, and further that the building fund had during the year been increased by collection of subscriptions and accrued interest to the sum of four hundred and ninety-nine dollars and eighty-five cents; making a total of all funds to




HISTORY OF CINCINNATI, OHIO - 233


the credit of the society, one thousand three hundred and forty-five dollars and three cents. At this meeting Mr. S. A. Miller was elected president; Mr. Horatio Wood was elected second vice-president; Mr. L. M. Hosea corresponding secretary, to which office he was re-elected the next year; Dr. J. F. Judge recording secretary, in which office he has been continued to this time; Dr. J. H. Hunt treasurer; Professor A. J. Howe curator of comparative anatomy, since which time he has been annually re-elected to the position.


At the meeting held May 4, 1875, the president, Mr. S. A. Miller, read a "Review of the Glacial Theory, as presented in the Ohio Geological Survey," which was published in the July number of the Cincinnati Quarterly Journal of Science.


Professor A. G. Wetherby read a paper entitled a "Description of Lepidopterous Larvae, with their habits and affinities," at the meeting held October 5, 1875, which was published in the Cincinnati Quarterly Journal of Science for the same month. Professor A. G. Wetherby read, at a meeting held December 7, 1875, a paper on the "Variations in form as exhibited by Strepomatid, with descriptions of new species," which was published in the month of January following, under the title of Proceedings of the Cincinnati. Society of Natural History. It is the only publication the society has ever issued. At various times attempts have been made by members to have the society definitely adopt the policy of a regular publication of its transactions, but without success until the last, which has resulted in the present undertaking of publishing a journal of the society quarterly, which is designed to embrace the proceedings of the society and such original papers of value as may be prepared for the society by its members or others.


The next annual meeting was held April 4, 1876. The treasurer's report showed that the receipts for the year had been, from members' dues, three hundred and forty-seven dollars and fifty-four cents; from interest, forty-five dollars and eight cents; the expenditures amounted to four hundred and fifteen dollars and ninety-five cents, leaving a cash balance of one hundred and two dollars and forty cents. The building fund was reported as five hundred and fifty-five dollars and sixty-three cents. At this meeting Professor W. H. Mussey was elected president; Mr. John M. Edwards, first vice-president; Mr. George W. Harper, second vice-president, who was in the second year re-elected; Mr. S. E. Wright, treasurer, and continues in office to this time; Mr. J. C. Shroyer, librarian, who was re-elected the following April; Mr. J. W. Shorten, curator of entomology; and Mr. Davis L. James, curator of botany.


Professor A. G. Wetherby read a paper at the meeting held June 6th, on the "Tulotoma," which was subsequently published n the Quarterly Journal of Conchology, Leeds, England.


At the meeting held October 3d, Professor Ormond Stone was elected curator of mathematics and astronomy, and Professor R. B. Warder curator of chemistry and physics, each being re-elected at the annual meeting the following year.


At the meeting held March 6, 1877, Dr. August J. Woodward was elected curator of herpetology, and reelected at the annual meeting next month.


At the meeting held on April 3, 1877, the treasurer's report showed the financial condition to be as follows :



Cash in the treasury April 4, 1876

Received from membership dues

For life. membership

For interest to credit of general fund


Expenditures during the year


Balance in the treasury


BUILDING FUND, APRIL 3, 1877


Balance in fund April 4, 1876

Received subscriptions

Received interest

Total building fund


TOTAL FUNDS


Bearing interest or held in cash, April 3, 1877


General fund

Endowment fund

Life membership fund

Building fund

Balance

$102 40

654 00

50 00

42 25

$848 65

350 02


498 65




$555 63

200 00

46 37

$802 00






$ 644 13

551 45

50 00

802 00

$2,047 58



  

At this meeting Mr. R. B. Moore was elected president; Mr. V. T. Chambers, first vice-president; Mr. J. W. Hall, jr., corresponding secretary; Dr. J. H. Hunt, custodian; Mr. 0. E. Ulrich, curator of palaeontology. Dr. A. J. Howe read a paper on the "Life of John Hunter," which was subsequently published in pamphlet.


Mr. S. S. Bassler was elected curator of meteorology and Mr. V. T. Chambers curator of microscopy, at the meeting held June 5, 1877. Professor A. J. Howe read "A Biographical Sketch of Baron Cuvier," at the meeting held August 7, which was afterwards published in pamphlet; and on the second of October he read another paper on "American Archaeology," which was also published in pamphlet.


Mr. Charles Bodman, who was elected a member September r, 1874, died on the tenth day of May, 1875, leaving a will containing a bequest to this society of fifty thousand dollars, which sum should have been paid to the society at once ; but the payment was delayed until the sixteenth day of July, 1877, depriving the society of about two years' interest. There were no conditions or limitations attached to the bequest, and consequently, when the money was received, it was absolutely at the disposal of the society. The society had previously appointed a board of trustees, one of whom is the treasurer, to receive the money and make such investments as the society should direct. The trustees, previous to entering upon the discharge of their duties, gave satisfactory bonds for the faithful performance of the trust. About eleven thousand five hundred dollars was invested in the purchase and repairing of the property on the corner of Broadway and Arch streets, in the month of October following. The collection and other property of the society was at once transferred from the rooms 46 and 48 College building to the new premises.


The society held its first meeting in its own building


234 - HISTORY OF CINCINNATI, OHIO.


on November 6, 1877. At this meeting the following resolution was unanimously adopted:


Resolved, That the members of the Cincinnati Society of Natural History tender the trustees of the Cincinnati college our heartfelt thanks for their generosity and kindness in furnishing this society a room in their building, free of charge, since the organization of this institution.


The balance of the bequest from Mr. Charles Bodman has been properly invested in bonds and mortgages, and the society now finds itself at home, in its own building, in affluent circumstances, and prepared to commence in earnest work for the advancement of science and the diffusion of knowledge.


At the meeting held January 1, 1878, the Mechanics' Institute sent to the Cincinnati Society of Natural History a written proposition to donate the collection of minerals in its possession, known as the McClue Collection; which offer was accepted, and the collection was transferred to the Society's building. Professor Claypole read a description of a new fossil, Glyptodendron Eatonense, which will appear in the American Journal of Science and Arts for April.


At the meeting held on February 5, 1878, the society authorized the publishing committee to publish a journal quarterly, to contain the proceedings and transactions of the society. This arrangement, if permanently maintained, will be of great importance to the society and to students of natural science everywhere.


In view of the fact that the proceedings of this society, as heretofore made public through the newspapers, have contained only meagre notices of the many donations and kindnesses of persons not members of the society, and that several members have borne a large share of the labor necessary in arranging, classifying, and taking care of the collection in the rooms of the society, and in making the necessary arrangements for its display in the Cincinnati exposition without any compensation, an honorable mention of their names at this time will not be

regarded as out of place. It will however, be impracticable attempt to enumerate all of them here, but in a brief to express the obligations of the society to those whose names have appeared in the foregoing pages. The society is also under many obligations to Major A. S. Burt, the U. S. army ; Mr. John Robinson, Mr. Julius Dexter, Dr. E. S. Wayne, Hon. J. S. Gordon, Hon. T. A.

Corcoran, the Cincinnati Zoological society, and the Smithsonian institution, for valuable contributions to its collections and library. Dr. H. H. Hill, Dr. R. M. Byrnes, Professor A. J. Howe, Mr. R. B. Moore, and Dr. D. S. Young, among others, are also deserving of especial thanks for the many services rendered the society.


The Cincinnati Society of Natural History is a charitable institution, devoting all its energies to the advancement of science and education. The rooms are kept open to the public, so that all the advantages of the museum may be enjoyed as well by those who are not members as by those who contribute annually the sum of five dollars towards its maintenance. In no event can any one profit by membership, beyond the nominal privilege of voting for the officers and participating in the work of the society.


On the second of March, 1880, a revision of the constitution and by-laws was reported and adopted by the society. It has generously undertaken half the expense of the antiquarian researches made in Anderson and Columbia townships by the Madisonville Literary and Scientific society, and in return receives a proportionate share of the relics found by that society, which now form an important and very interesting feature of the Cincinnati collection. The papers of Dr. Metz and Mr. Charles F. Lowe, of the Madisonville association, on their archaeological investigations, have appeared in the journal of the Cincinnati society, with an admirable chart of the mounds and other works examined.


The following named gentlemen have been presidents of the society since its organization: Dr. John A. Warder, 187o-5; Samuel A. Miller, esq., 1875-6; Dr. W. H. Mussey, 1876-7; R. B. Moore, 1877-8; V. T. Chambers, 1878-9; Dr. R. M. Byrnes, 1879—.


THE ENGLISH SPARROW IN CINCINNATI.


Making a somewhat abrupt descent from great things to small, we desire to insert here, finding no fitter place for it in the entire book, the entertaining historv of the English sparrow in the Queen city, as related by a well-known Cincinnati naturalist, Dr. A. Zipperlein, in a communication to the Feathered World, a weekly paper published in Berlin, from which the following is translated:


The first English sparrows were brought to New York in the latter half of 1860. As they began to multiply and to check the ravages of the caterpillars on the shade trees in the streets and parks, other cities also began to express a wish for them. In Cincinnati it was especially the German citizens and German press that took the matter up. The English press in the city followed in favor of the sparrows, till at length the city council passed a resolution to buy two hundred pairs of the birds and distribute them throughout the public parks. So great was the demand for them, however, that only eighty pairs could be procured, and these cost eight dollars the pair. They were so distributed by the council that thirty-five pairs went to Lincoln park, thirty to Washington park, and fifteen pairs to the small Hopkins park. The city council naturally expected they would stay there. They were let loose on the appointed day, and rejoiced in their new-found freedom; but the trees and ornamental shrubs were a strange region to them, a luxury they did not understand, and in spite of the richly decked table offered them, the colonists that had been bought with money longed for the stables, abandoned swallows' nests, and dungheaps of their dear Germany, and one fine day these immigrants, that were to pay for their passage to America by their work, disappeared. They accepted the hospitality of the Americans only three days, and then, on that principle according to which every immigrant should shape his conduct, not to depend on others, but only on himself, and stand on his own feet, they deserted their festive boards and the charming parks, and wended their flight to Mill creek—a creek flowing through the western part of the city, whose banks are inhabited by German gardeners and dairymen, where German sounds saluted their ears, and straw peeped seductively out under stable roofs, which reminded them of their lost homes in Germany. The speech had a familiar tone to them; they saw German gardens, stables, and the old manure heaps, and the possessors of all these treasures, who had seen no German bird in thirty years, perhaps, rejoiced at the arrival of their feathered guests. Among the gardeners who mostly raise only vegetables, the sparrows could do no harm; neither could they among the milk people; and so it happened that the vanguard of the coming army of German birds was welcome everywhere. Their well-known prolific tendencies were not lost in the new climate. A year afterward single pairs came into the city here and there to look about them. The report must have been favorable, for soon they began to colonize themselves in the city, building their artless nests under the ornamental cornices of the roofs or in holes in the walls. Bird-houses upon long poles, or upon trees in many streets, also invited them to remain. But the sparrows did not stop at colonizing the city, after they had become Americanized. They spread through the whole region round about, going as far as the starch fac-


HISTORY OF CINCINNATI, OHIO - 235


tory of Mr. A. Erkenbrecher, five miles from the city. They rightly guessed that they would be well received there, for Mr. Erkenbrecher is not only the man who proposed the introduction of German singing birds here, but he is also the father of our zoological garden. He did not deceive the confidence of the sparrows, for he immediately caused bricks to be left out here and there in a great factory chimney he was building, so that the sparrows might have nesting-places. Since the chimney is always warm, these petted sparrows breed here year in and year out. There was no want of food, but Mr. Erkenbrecher was at length obliged to put up wire trellises over the factory windows because these fellow-countrymen that had been received in such a friendly manner, were soon no longer satisfied to pick their living in the streets, but helped themselves to the best that was laid up in store. Since then they have increased by the thousand, they are in every street in the city, where there is always a rich feast. They have not lost their impudence in the strange country; on the contrary, they appear to have adopted the American tramp, called a "loafer," as their model, and if possible are even more impudent than they were in their former home. It is true, there are here in the city no cherries or grapes to steal, and so they will always find advocates, because since their arrival there has been no destructive visitation of caterpillars. Nevertheless our proletarian has in some degree lost credit, at least among Americans who live in their country houses in the neighborhood of the city. These beg to be excused from suffering the German bummer to build his nest in the richly decorated cornices of their villas and soil them all over. Then, too, this same sparrow, that could live abundantly off the crumbs from the rich man's table, steals the carefully cultivated cherries and grapes. Open war has not yet been declared against him, it is true, and the sparrow will never be exterminated from the cities, where he does no harm, but the owners of the villas will probably make a bitter fight against him, especially when they find out that young sparrows broiled for breakfast are by no means to be despised.


CHAPTER XXV.


ART.


THE history of the development of the patronage and practice of the fine arts in Cincinnati possesses special interest. The seeds of a splendid bloom and fruitage beginning to appear to-day were planted even before the forest of barbarism was cleared. The field of its story has already been traversed by that intelligent inquirer, Mr. H. A. Rattermann, editor of the German Pioneer, from whose admirable essay on the subject much of the following is condensed :


The singular beauty of this region, especially at an earlier day, when the hillsides and valleys were still clothed in their primeval garb of forest and thicket, contributed in no small degree to bring budding artists to Cincinnati. They found here, not only the promise of a culture which would create a demand for their works, but of means that would enable art-lovers to gratify their tastes. Hence the unusual number of workers in fine art here, at a period in the city's history so early that their presence and labors would hardly have been expected. Mr. Cist was able to write in his book of 1857:


"Cincinnati has been for many years extensively and favorably known as the birthplace, if not the home, of a school of artists who may be found in various parts of Europe, to say nothing of those in great numbers whose talents have found exercise in the various great cities of our own republic."


The first painter in Cincinnati was George Jacob Beck, either a German or of German stock, who came here in a company of scouts with Wayne's army in 1792, and was in the campaign to the Maumee and the battle of the Fallen Timbers. He then settled here, and remained until 180o. It is thought that the gay decoration of General Wilkinson's famous barge may have been the work of this artist. While in Cincinnati Mr. Beck married a daughter of M. Menessier, a refugee from France in 1789 and a man of prominence in his native land, who had settled first with the French colony at Gallipolis, and afterwards here. Beck's specialty was landscape painting, in which he attained some eminence, placing upon canvass many of the most beautiful scenes in this part of the Ohio Valley. He was also a poet, doing original work, as well as translations from Greek and Latin authors. In 1800 he removed to Lexington, then a more promising place than Cincinnati, and died there in 1812. Mrs. Beck returned here and opened a drawing-school for ladies at the corner of Walnut and Third streets, which she maintained for at least fifteen years. Specimens of the work of this gifted pair are still extant, especially in Lexington.


During Beck's residence here, the place was visited, and perhaps inhabited for a short time, by the first artist in the Western country, Mr. William West, who emigrated to Lexington in 1788. He was a well cultivated man, son of the rector of St. Paul's church in Baltimore; but did not use his gifts to much advantage, and painted few pictures.


John Neagle (or Neagli), a Boston boy of Swiss parentage, who studied in Philadelphia under the celebrated painter Sully, painted in Cincinnati in the early part of this century; but removed to Lexington, and thence returned to Philadelphia in 182o. He is best known as the painter of the popular genre picture, Pat Lyon, the Blacksmith, which has been extensively reproduced in engraving and lithography. Neagle returned to Lexington in 1844, long enough to paint a portrait of Henry Clay, upon a commission given him by the Whigs of Philadelphia.


A. H. Corwine, another early portrait painter here, came from Kentucky in 1817. His work was_so well done that a number of leading citizens paid liberally for it in advance, and sent him to Philadelphia to study under Sully. There he improved rapidly, and painted some excellent portraits upon his return. He afterwards went to England, and never saw Cincinnati again, as upon coming back he went to Philadelphia, and died there.


Among the few art-workers of 1825 here was Mr. F. V. Peticolas, a miniature painter, who presently saw greater profit or pleasure in more material pursuits, and abandoned the easel for the plow, establishing himself on a farm in Clermont county.


Another early miniature painter was J. 0. Gorman, who removed to Frankfort, Kentucky, after a limited stay here.


Later Cincinnati enjoyed the artistic labors of another of Sully's pupils, Mr. Joseph Henry Busch. He was a native of Kentucky, born in Frankfort in 1794, of German parentage. It is known that in 1826 Mr. Busch was at work in a studio in the Academy of Fine Arts, then kept by Professor Eckstein on Main street, between Third and Fourth. Mr. Eckstein was the founder of the academy that year. He was from Berlin, Germany, the


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son of a Prussian painter of distinction, who flourished in the time of Frederick the Great. He brought with him many busts and other art-works, which added greatly to the attractions of his rooms. His enterprise is thus favorably noticed in Drake and Mansfield's Cincinnati in 1826:


Mr. F. Eckstein, an intelligent and highly ingenious artist of this city, is about to commence the formation of an academy of fine arts, on a plan well calculated to ensure success. His skill in sculpture and taking plaister casts, his taste in painting, and his enterprising industry, will, even with a moderate amount of patronage, ensure the permanence and respectability of the institution. Mr. Eckstein has already a number of busts and other specimens of art, which will be arranged as the nucleus of his establishment, so soon as suitable apartments can be procured. A part of the plan embraces the delivery of lectures in the institution, illustrative of the departments of the arts which properly belong to an academy of this kind.


Mrs. Trollope, in her book on the Domestic. Manners of the Americans, gives an amusing and undoubtedly prejudiced account of this academy and its fate. She says:


Perhaps the clearest proof of the little feeling for art that existed at that time in Cincinnati, may be drawn from the result of an experiment originated by a German, who taught drawing there. He conceived the project of forming a chattered academy of fine arts; and he succeeded in the beginning to his utmost wish, or rather "they fooled him to the top of his bent." Three thousand dollars were subscribed —that is to say, names were written against different sums to that amount, a house was chosen, and finally application was made to the Government and the charter obtained, rehearsing formally the names of the subscribing members, the professors, and the officers. So far did the steam of their zeal impel them, but at this point it was let off; the affair stood still, and I never heard the academy of fine arts mentioned afterwards.


As already stated in effect, Eckstein's own work was mainly in sculpture. He made portrait-busts of a number of Cincinnatians. One of his pupils became the most famous of American sculptors—Hiram Powers. He was a Vermont boy, brought here while still very young

by his father, and serving variously in his earlier activity as an attendant in Langdon's reading-room on Third street, as clerk and errand boy in a grocery store, and finally as apprentice to Luman. Watson, a clockmaker. He forever neglected his work, and remained but a short

time a place. Every hour which he could get from his legitimate employments was spent in Eckstein's apartments, limn" watching with eager eyes the artistic processes which transformed dull clay and plaster into forms of almost living beauty. The sculptor was pleased with the

evidences of the boy's genius, and gave him instructions which soon developed it in the hopeful promise which has since manifested a master to the world. He aided young Powers to get a place as employee in Letton's Museum, where he obtained favor by his fidelity and artistic talent, and for seven years was in charge of the wax-works, himself making a number of the figures, while continuing to practice under Eckstein upon clay and marble. In 1835, now in adult manhood, he went to Washington and sculptured a number of portrait-busts of celebrities there. His growing fame soon prompted the wealthiest citizen and patron of art in Cincinnati, Mr. Nicholas Longworth, who had been among the subjects of Powers' graver, to furnish means to send the

artist abroad for study and, practice. Powers settled in Florence, where he afterwards resided and made himself and his great works known everywhere. Several of his busts and best-known works; originals or copies, are owned in this city—among the most beautiful of them the two angels in marble on the altar of St. Peter's Cathedral. The genesis of these works is told in the following story : Over twenty-five years ago' Archbishop Purcell wrote to Mr. Powers, asking what he would charge for a pair of angels "of the usual size." Powers replied that angels were in all sizes, little and big, and that he was unable to determine what the archbishop meant by "the usual size." To which the ever-ready ecclesiastic replied : "Take the two prettiest girls of Florence and put wings to them." The sculptor did so, or something like it, and produced the two beautiful figures which are now among the chief adornments of St Peter's, and which certainly suggest the Italian style of female loveliness in their features, whatever Mr. Pow ers' models or ideals may have been.


The following commendation of the young sculptor, written before he had yet accomplished a single work in marble, will be read with interest. It was probably from the pen of Judge Hall, editor of the Western Monthly Magazine, in which it appeared April, 1835 :


Mr. Powers would appear, from the facts which we have stated, and a variety of others of similar import which might be added, to possess a rare combination of intellectual and physical endowments—a fecundity of creative power, a quickness of invention and contrivance, a mathematical accuracy of judgment in reference to mechanical combinations, a peculiar facility in subjecting matter to the influence of his mind and a readiness in acquiring the skillful use of tools. He combines, in short, the genius of the inventor with the skill of the practical artisan, and can conceive and execute with equal felicity.


We are glad that this ingenious gentleman has turned his attention to a branch of art which is both lucrative and honorable, and in which he stands undoubtedly without a rival. His present occupation is that of making busts in plaster by a process of his own invention. .

He is a musician by nature, and we have heard that he can imitate sounds with the same ease and success with which he moulds the most obdurate metallic substances or the rudest clay into graceful shapes. But we have not room to repeat all that can be done by the admirable genius of this distinguished artist. If any friend will suggest anything he cannot do, we will notice it in our next.


Another famous pupil of Eckstein was Jubal Klefinger, better known by his anglicized name of Shubael Clevenger. He made his humble beginnings in 1836, in a stone cutter's shop, in partnership with George Bassett, on the southeast corner of Race and Seventh streets. Here he engaged in putting ornaments on tombstones, when his talent was favorably noticed by Mr. E. S. Thomas, editor of the Evening Post, who, at Clevenger's suggestion, sat to him for a bust, which was chiseled directly from freestone, without the intervention of a model. The effort was highly successful, and brought him at once into the public regards as a sculptor. He studied and worked with Eckstein a few years, and then went to Italy. He continued to give brilliant promise, but, unhappily for the world of art, he died while upon the ocean, on his way home in 1844.


Dr. Frederick Hall, an observant traveler from the east, who was here in 1837, published the following notes upon Clevenger and Powers:


This city is becoming famous as a nursery of the fine arts, or rather of artists. A gentleman took me this morning to a small shop, where we


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saw three full-length statues, nearly completed, carved out of hard sandstone, representing three individuals with whom my conductor was well acquainted. 'They are," said he, "perfect likenesses." The workmanship appeared to me to be of an high order—not equal to the Apollo de Belvidere, the Venus de Medicis, but not at all inferior to that displayed by the untaught Scottish sculptor Thom, in his universally admired statues of "Tam O'Shanter," " Souter Johnny," and the " Landlord and Landlady "—a work which will render the name of their author as immortal as history. This artist, like Thom, has had no instruction, I am told, in the use of the chisel. His own native, unborrowed talent and taste led him to employ it. A few years spent in the studios of Rome or Florence would, I think, make him one of the first sculptors of our age. His name is Clevenger. We did not see him as I hoped to do. He was absent.


Mr. Powers, the gentleman who attracted so much attention last winter at Washington by his skill in moulding likenesses, is from this town, though a native of Vermont. He is, you know, shortly to embark for Italy to perfect himself in his profession. I promised to write him a letter of introduction to our worthy friend, Mr. Cicognani, late American consul at Rome. This promise I have this day fulfilled, and left the letter, as he requested, with Mr. Dorfeuille, the proprietor of the Western museum. Mr. Dorfeuille invited me to examine the vast assemblage of curiosities, which his own individual enterprise and perseverance had enabled him to form. Besides the thousand and one articles which are common to all museums, I was pleased to find an extensive collection of Indian and other curiosities, which have been obtained in the western States, many of which are full of interest for the antiquary. I observed, too, a number of wax figures, of surpassing beauty, formed by the hand of the sculptor, Mr. Powers, who was employed during two or three years at this establishment.


Before Powers and Clevenger, however—even before Eckstein—the sculptor's art had been cultivated in Cincinnati, in a way unknown, we suspect, in the great art centres of the world. The rapid increase and very prosperous character of the business of steamboat building created a large demand for figure-heads and other sculptured, carved, and gilded ornaments, These were done here in tasteful style, and sometimes almost with touches of genius, by Messrs. Sims and Shepherd, whose work is mentioned with due commendation in Drake and Mansfield's Cincinnati in 1826. The last of these was a Pennsylvania German who came to the place under the name of Schafer (afterwards anglicized into Shepherd) iri 1814, and began business as a wood-carver, the pioneer of what has since become a great and notable thing in the Queen City. In 1822 he executed the wooden statue of Minerva, which old citizens will remember as standing for many years upon a column before the Western museum, on the southwest corner of Main and Pearl streets. The head of the statue is now in possession of the Historical and Philosophical society. For a number of years Shepherd was associated with Mr. Sims, and their work, on steamboats and elsewhere, was much admired.


About 1819 Messrs. Sims and Shepherd found a rival in William Jones, whose published card announced him as "carver and gilder," at No. 6 West Front street; but ten years afterwards both establishments had disappeared, and the business was solely in the hands of Hiram Frazer, who had in his employ a skilled German workman named John Nicholas Adam.


One of the early painters here, about 1823, was Joseph Kyle.. He left few of his works in Cincinnati, however, and spent most of his artistic life in New York city, where he died a few years ago. He painted portraits and genre pieces.


The rendezvous of local artists in the early day was principally the City hotel, kept by David Kautz, on the corner of Sycamore and Lower Market streets. For about five years, however—from 1819 to 1824—they occupied as a sort of club room for evening reunions a large apartment in the second story of a boarding-house kept at No. 75 Sycamore street by Mrs. Sophia Amelung. The following-named gentlemen are known to have been frequenters of this place: Mr. Nathan W. Wheeler, portrait painter at No. 78 Broadway, corner of Lower Market street; Edwin B. Smith, historical and portrait painter, afterwards of New Orleans; A. W. Corwine and Joseph Mason, portrait painters, the latter afterwards of New Orleans; and Joseph Dorfeuille, director of the Museum, but more famous as an archaeologist and caterer for the public entertainment than as an artist or patron of art. He was a Suabian by his nativity, and his name was properly Dorfel, which became Dorfeuille to conform to the then popular taste, which, perhaps in consequence of Lafayette's visit, ran to names and things French rather than German. He traveled widely in Egypt, Syria and the Holy Land, collecting in his wanderings many curiosities, which he brought to this country for exhibition, uniting with them a display of Western amphibia and of foreign and domestic birds. Letton's Museum was already in existence when he came to Cincinnati in 1823; and he was induced to combine his collection with it and take the management of the whole exhibition.


Occasional visitors to the Sycamore street club-room were the distinguished ornithologist, Jean Jacques Audubon, who made Cincinnati his base of operations for a time; and Dr. Robert Best, the first director of the museum. The gathering-place of the artists was removed in 1824 to the quarters of the dancing-master of Cincinnati in that day, Herr Philibertus Rate], on Third street, between Main and Walnut.


The Cincinnati Directory of 1829 makes the following additions to the heretofore short catalogue of local artists: Portrait painters—Aaron Day; Alonzo Douglass, on Sixth streets, near Main; and Christopher Harding. Thomas Dawson, miniature painter, 22 Main street. Samuel Dickinson, decorative painter; Samuel M. Lee, landscape painter, street, between Main and Walnut;

and Michael Lant, historical painter.  Messrs. Day, Dickinson, and Lant had their studios at Kautz's City hotel, which was still much resorted to by the gentlemen of the brush and palette.


A notable event about this time (1828) was the opening of the gallery of fine arts, by Frederick Franks. This was situated on the southwest corner of Main and Fifth streets, above the drug store of Allen & Sonntag. Franks had studied at Dresden and Munich, and was a meritorious artist. He belonged, however, to the school, if school it be, of the Dutch artist known by the soubriquet of "Hell-Breughel;" and, like him, delighted in representing imps and devils, goblins, witches, robbers and the like. He had a picture of his own in his gallery, delineating the infernal regions; and some time after opening it made the famous chamber of horrors whose preparation is generally and wrongly attributed to Hiram Powers.


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In this, by machinery and movable figures, demons, spirits, snakes, grotesque and frightful objects, and electrified iron batteries or railing heightening the effect by giving a shock to the visitor when touched, the infernal regions were represented with a horrible vividness and fascination that drew large numbers to visit the unique show. After the death of Mr. Dorfeuille, this inferno went with Mr. Franks to the museum of which he took charge, and was there long and successfully exhibited. It is made the subject of further notice in our chapter on amusements.


A number of young artists, some of whom have since become famous, received their training, in part, in Mr. Franks' gallery. Among these were Miner K.. Kellogg, and the brothers James H. and William H. Beard, Daniel Steele, John Tucker, William H. Powell, and the poet painter Thomas Buchanan Read, were also of that period. Kellogg was the son of a successful Cincinnati merchant, and was enabled early to establish himself in Florence, where he remained, painting chiefly genre pictures. In this country he painted portraits of Presidents Van Buren, Polk, and Jackson, Chief Justice Taney, Generals Scott and Worth, and many other dignitaries. At Constantinople, some time before his death, he executed a full length portrait of Reschid Pasha, the Grand Vizier, which so gratified the eminent Turk that he presented the artist, in addition to a good price for his picture, a superb gold cup, studded with diamonds.


The Beards profited by the instruction of Frankenstein as well as the opportunities of the art gallery. They became portrait-painters of note, but likewise composed genre pieces of much beauty and excellence. William H. Beard has become very celebrated, especially as an animal painter; and many of his pieces are well known in Cincinnati. Over thirty-five years ago Miss Harriet Martineau thus wrote of one of the brothers, probably him, in her Retrospect of Western Travel :


We next went to the painting-room of a young artist, Mr. Beard, whose work pleased me more than that of any other American artist. When I heard his story and saw what he had already achieved, I could not doubt that, if he lived, he would run a noble career. The chief doubt

doubt was about his health, the doubt which hangs over the destiny of almost every individual of eminent promise in America. Two years before I saw him Beard had been painting portraits at a dollar a head in the interior of Ohio ; and it was only a year since he suddenly and accidentally struck into the line in which he will probably show himself the-Flamingo of the New World. It was just a year since he had begun to paint children. He had then never been out of his native State. He was horn in the interior, where he began to paint without having ever seen a picture, except the daubs of itinerant artists. He married at nineteen, and came to Cincinnati, with wife, child, an empty purse, a head full of admiration of himself, and a heart full of confidence in

this admiration being shared by all the inhabitants of this city. He had nothing to show, however, which could sanction his high claims, for his portraits were very bad. When he was in extreme poverty, he and his family were living, or rather starving in one room, at whose open

window he put up some of his pictures to attract the notice of passengers. A wealthy merchant, Mr. G., and a gentleman with him, stopped and made their remarks to each other, Mr. G. observing. The fellow has talent, after all,’ Beard was sitting behind his pictures, heard the remark, and knew the voice. He was enraged. Mr. G. visited him, with a desire to encourage and assist him ; but the angry artist long resisted all attempts to pacify him. At his first attempt to

paint a child, soon after, all his genius shone forth, to the astonishment of every one but himself. He has proved to be one of the privileged order who grow gentle, if not modest, under appreciation ; he forgave Mr. G., and painted several pictures for him. A few wealthy citizens were desirous of sending him to Italy to study. His reply to every mention of the subject is, that he means to go to Italy, but that he shall work his own way there. In order to see how he liked the world, he paid a visit to Boston while I was there, intending to stay some time. From a carriage window I saw him in the street, stalking along like a chief among inferiors, his broad white collar laid over his coat, his throat bare, and his hair parted in the middle of his forehead, and waving down the sides of his face. People turned to look after him. He stayed only a fortnight, and went back to Ohio expressing great contempt for cities. This was the last I heard of him.


J. R. Johnston was also one of Franks' pupils, and shared his master's taste for the grotesque and horrible. Two of his best historical pieces, "Starved Rock," representing the scene of a terrible legend of the. Upper Illinois river, near Ottawa, and "The Mouth of Bad Axe River," are still owned in the city.


In 1833 the celebrated historical painter, W. H. Powell, began his career in Cincinnati, which was subsequently pursued with great distinction in Washington city, Paris, and other places at home and abroad. In this city he painted portraits, fancy and historical pieces; but gradually developed a specialty for the last, which chiefly won him renown as the first painter in that department in America. His first historical piece was "Salvator. Rosa among the Brigands." Another, representing "Columbus before the Council at Salamanca," was exhibited at Washington in 1847, and with such success as to secure Mr. Powell a commission from Congress, against more than sixty competitors, by a unanimous vote of the senate and over six to one in the lower branch, to paint an historical picture in the sole panel of the rotunda of the capital then remaining vacant. He chose the subject, "De Soto discovering the Mississippi;" his conception of which may be studied at leisure by visitors to the capitol. Other pieces of the kind of Mr. Powell's production are the "Burial of De Soto," and the "Signing of the Constitution by the Pilgrims on board the Mayflower." His "Battle of Lake. Erie," in the rotunda of the capitol at Columbus, is much admired. Some notable portraits of his are also extant, as one of Lamartine, painted for the Marvland Historical society, and two of John Quincy Adams, one of which was presented to the Cincinnati observatory, in recognition of the services rendered by "the old man eloquent" in founding that institution.


Read has attained unto fame rather as a poet than an artist, and his later life, which has been spent mostly in Rome, has not fulfilled the promise of his youth in giving life and beauty to canvas. Still, his work is very pleasantly remembered, and such of it as remains in Cincinnati is still shown with much interest.


Among the toilers in art here during the decade 1830-40, may be mentioned Thomas Tuttle, a portrait painter and one of West's pupils, who commenced his career in 1830; Sidney S. Lyon, here in 1836, but afterwards of Louisville, a portrait and landscape painter; E. Hall Martin, marine painter, who went in 1851 to California, leaving many of his first pieces here; Augustus Rostaing, 1835, carver of cameo likenesses and ideal heads upon shell, who returned to France, his native land, and resided in Paris; Frederick Berbrecht, a Prus-


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sian landscape and historical painter, and producer of the altar pieces burned with the Trinity Catholic church in 1852; George Henry Shaffer; Thomas Campbell, 1840, miniature painter; W. P. Brannan, landscape and genre painter; A. Baldwin, marine scenes principally; T. Witheridge, afterwards of Dusseldorf, where he painted "The Poachers," which was much reproduced in lithography; John Cranch, of New York subsequently, painter; and John Airy, an English sculptor, who made the Gano monument, now in Spring Grove cemetery. Airy is said to have possessed a fair amount of genius and a rich fancy, coupled with genuine devotion to art; but he suffered from the weakness of appetite, which took him prematurely out of the world.


Other early Cincinnati sculptors were Christopher C. Brackett, a name, as associated with Boston, of very considerable renown; H. K. Brown, who went to Brooklyn and achieved eminence; John L. Whetstone, afterwards a well-known civil engineer; and Nathan F. Baker, sculptor of "Egeria" and of the "Cincinnatus" which may still be discerned through the grime and soot on the front of the Baker building on Fourth street, between Main and Walnut. Though he long since abandoned the chisel, he is still an enthusiastic lover and patron of fine art.


Eastman Johnson, one of the most successful and distinguished of American artists, had his studio for a time in Cincinnati, in the Bacon building, at the corner of Walnut and Sixth streets. He had more of the sensitive high-art feeling than most of his professional brethren; and, although his circumstances then presented a striking contrast to the wealth and ease of his later years, so much so that at times he could not pay his board-bills, he declined to lower his customary rates for a portrait—seventyfive dollars, which was rather high for that time. Mr. Ratterman relates the following anecdote by way of exception:


"A widow came one day to Johnson, asking him to paint the portrait of her only son, a lad of four years. She had lost her husband without retaining his picture; and, as the boy had the features of his father, she could not bear to think that she might also lose the boy without his portrait, and thus be deprived of all recollection of her deceased husband. But she had only forty dollars. It was all she possessed, and the art of photographing was not yet invented. Not even was there a daguerreotypist in those days in Cincinnati. So she offered to Johnson these last forty dollars, if he would paint the picture of her boy. Mr. Johnson, however, refused to take less than seventy-five dollars for painting it, and the widow left in despair. A week or so later, however, he was unable to pay his board and lodging, and was turned out on the street by his landlady. He obtained a new boarding-house, upon Mr. Wiswell going security for him. Two weeks later Johnson asked Wiswell if he knew the lady who wanted the portrait of her boy painted. He had reconsidered his determination, and would paint the portrait for the forty dollars. The widow was found, the portrait of the child painted; and a beautiful picture it was, indeed. The picture was exhibited in Wiswell's, and was admired by every one seeing it, which brought to Johnson more work than he could make."


While here, Mr. Johnson painted portraits of Edmund Dexter, George Selves, and many other prominent citizens. He afterwards gave his energies mainly to genre painting, in which, as well as other departments of the art, he has achieved great distinction.


The transition period of art in Cincinnati, from the earlier to the later time, is considered to be that of the Frankenstein family—four brothers and one sister—all of them eccentric personages, and two of them, John P. and Godfrey N. Frankenstein, artists of no little merit. The latter was a landscape painter of note in his day, copying directly from nature, and exhibiting marked originality in his treatment of themes. He painted many portraits ; among them those of Abbott Lawrence, Charles Francis Adams, George Ticknor, and other famous- Bostonians. He was the tutor in art of the more distinguished William Sonntag, son of a German chemist who was junior member of the firm of Allen & Sonntag, dealers in drugs and medicines. Mr. Ratterman says :


When Sonntag began to paint his pictures, they were so novel in their conception and rich in coloring, though less delicate in their execution, that they at once became the rage. Everybody wanted to have a "Sonntag," and Sonntag was not disinclined to please everybody; so he painted away, and every two or three days brought forth from his fruitful easel a new landscape, and into his pocket a new treasure of fifty, seventy-five, or a hundred dollars—and all sides appeared for awhile satisfied. Soon, however, it was ascertained that Sonntag's pictures were not at all scarce, but as plenty as blackberries; and the parties that had measured the value of a picture according to the comparative scarcity of them, not in the point of real merit, became dissatisfied, and the Sonntag rage subsided.


But after this mania for his pictures had passed, Sonntag became so poor that he lived for a time upon the charity of his friends, who finally made a collection to purchase the railroad ticket with which he went away. In New York afterwards he became very popular, and amassed wealth by his busy labors.


Godfrey Frankenstein was a sculptor as well as painter, and made the portrait bust of Judge McLean, which still stands in the United States district court-room in Cincinnati. The other brothers, Francis and George, also tried their hand in painting, but did not attain the celebrity of John and Godfrey. Tradition says that their early tentative efforts were expended in 1828, upon a series of painted tablets for Jacob Reiss' pleasure-garden. Miss Frankenstein was also something of an artist, but is better remembered as the first teacher of the German department in the Cincinnati public schools. The Frank- enstein family went finally- to Springfield, Ohio, where they now reside.


A second Cincinnati academy of fine arts was founded October 18, 1838, by a number of young men, "in order that by their union thev might obtain greater facilities for improvement in the various branches of the fine arts." Godfrey Frankenstein was its first president, and John L. Whetstone, the sculptor, first secretary. The next year they opened an art exhibition, the first of the kind ever made in the west, at the Mechanics' institute. It comprised about one hundred and fifty works, by both foreign and native artists; and though it realized nothing by way


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of pecuniary profit, it served an admirable purpose in stimulating the aesthetic and artistic sentiment here, and preparing the way for better things in the future.


It is held by local authorities on art history that its golden age in this city was the decade 1840-50. Mr. Ratterman relates:


During this period art evinced more life, more vitality, more self-reliance, in Cincinnati than at any other period. After 1850 it sank lower and lower. Not that the city then ceased to produce artists of genius. On the contrary, it raised in modern days more than ever, and comparatively more and greater ones than any other American municipality, not excepting the "Hub of the universe." It is no bombastic puffery if we make this assertion. Our city was generally the starting point of American artists. We gave them birth and nourishment in thir infancy; and when our artists were grown to manhood, then the east would come to woo and wed them, and boast of them as their own.


The Academy of fine arts, brief as was its existence, did much to inaugurate this era. It was short-lived; and another effort was made in behalf of art culture, by the establishment of a department of the fine arts in the new Cincinnati Society for the Promotion of Useful Knowledge. Provision was made for it in the courses of lectures delivered before that body and the public; and the disquisitions upon various topics of art by James H. Beard, E. P. and John Cranch, and others, are remembered as foreshadowing a brilliant future for aesthetic growth in the Queen City. This society too, however, was doomed to extinction, and the materialistic view taken of art by the average Cincinnatian of that day is probably well set forth by Mr. John P. Foote, in a remark in his book on the Schools of Cincinnati. Says Mr. Foote:


After the extinction of two academies and one section of fine arts, most of those who had been active in efforts for their encouragement and promotion thought best to let art stand upon its own feet and be governed by the laws of trade or of taste—and flourish or fade accord.. ing to those laws.


In 1846 the establishment of the American art union in New York city led to the founding of the Western art union in Cincinnati. Its headquarters were at the corner of fourth and Sycamore streets. Mr. Stetson was president of the union, and Messrs. E. S. Haines, Marchant, Baldwin the

artist, and others, lent their energies to keep it in life for a few years; but it had not the elements of permanence, and expired soon after its New York prototype. While it lasted, however, it exerted a healthful and hopeful influence, and scattered many excellent works of art through the city and more or less over the west and south.


Following this was a scheme for a national portrait gallery, toward which a purchase was made of Rembrandt Peale's well-known collection of portraits of heroes of the revolution, then forming part of Peale's museum in Philadelphia. Many other appropriate pictures were bought, and placed in a gallery, which was opened for public exhibition. This enterprise, contrary to expectation, was shorter lived than the art societies. The paintings strangely but surely disappeared, and the Cincinnati national portrait gallery soon passed into history.


Still later, in 1855, organized effort in behalf of art took the form of a ladies' gallery of the fine arts, which was projected by Mrs. Peter. Its plan was to secure for exhibition copies of famous works by the old masters—copies made by artists whose reputation would alone be a sufficient guarantee of their authenticity. The energetic projector of the scheme made two voyages to Europe in its interest; but she did not meet with sufficient co-operation and encouragement otherwise to warrant the consummation of the undertaking. No special associated endeavors have since been made here to aid fine art. A very excellent school of design has been maintained in connection with the Mechanics' institute, and receives due notice in our history of that institution. A school of art and design, with instructors in the several branches of sculpture, carving, drawing and perspective, decorative design and water-color painting, also exists as a department of the Cincinnati university, with rooms in the College building, on Walnut street. It was founded in 1868, and has already done a good work, as is shown by the facts set forth in our outline history of the university.


Recurring to the golden age, it may be mentioned that Mr. Charles Soul; the oldest artist in the city by continuous residence and work, set up his easel here during that period, in 1841, at No. 83 West Seventh street. The full-length portrait of Josiah Lawrence, in the Merchants exchange, and many other well-known portraits, are among his works. Miss Clara Soule, his daughter; was also a meritorious artist, painting flower and fruit pieces, as well as portraits.


Mrs. Lily Martin Spencer, who achieved considerable though perhaps but temporary fame, was a favorite in this city for some years. She furnished a number of the best paintings distributed by the Art union, as well as some popular subjects for engraving. Her specialty was Shakespearian delineation, and her King Lear, Ophelia, Romeo and Juliet, and others, added materially to her fame. The latter part of her career was in New York city.


J. Insco Williams dated here from 1842. His historical pieces were very favorably received, and his elaborate Panorama of the Bible, which was burned in 1851 or 1852, was publicly exhibited with some success.


Other well-remembered artists of or about this decade were B. M. McConkey, 1844, afterwards a student of the Dusseldorf school; William Walcutt, 1844, subsequently of New York, painter of "The Battle of Monmouth;" Herrmann M. Groenland, also of 1844 and still a resident of the city, a singer as well as artist, who receives due notice in our history of music in Cincinnati; J. C. Wolf, painter of allegorical and historical pictures, whose "Joseph and Potiphar's Wife" was long among the adornments of the St. Charles exchange; J. 0. Eaton, 1846, since of New York city, and one of the most famous portrait painters in the land; A. H. Hammill, 1847, and continuously here since, except for a short time at Waynesville, Ohio, painter of animals and birds; and Gerhard Mueller and Henry Koempel, historical painters. Mueller had been a student at Munich, and came here in 1839 or 1840, occupying a studio in an old frame building where the Debolt exchange was subsequently built. Some of his works are to be seen in St. Mary's, St. Joseph's and other Catholic churches of this city. William, his son, who changed his name to Miller, was a meritorious painter of' miniatures. Mr. Koempel began his labors in 1848,




HISTORY OF CINCINNATI, OHIO - 241


and won but small renown. An attempted adaptation of Guido's St. Michael, by Koempel, is in existence as the altar-piece of St. Michael's church, in the Twenty-first ward.


About 1840 came another Catholic artist, a Suabian, in the person of Michael Muckle the sculptor. He had a specialty of saints and crucifixions, and made so many of the latter as to obtain among the Germans the sobriquet of "Herrgott-schmitzes," or the crucifix carver.


C. E. Gidland, another of Cincinnati's veteran artists, also dates from this decade, and keeps his studio still at No. 8 East Fourth street. Mr. Ratterman says: "He is of a very eccentric nature; yet his pictures are full of vivacity and, though sometimes roughly sketched, of striking color effect."


Another veteran of the golden age, but in a different walk of art, was Mr. T. D. Jones, the sculptor, who is believed to have made more portrait busts than any other artist in the country. Among his subjects were Clay, Cass, Corwin, Chase, and other notabilities whose names do not begin with C. He modeled the fine figure in bronze of the Soldier on Guard, which adorns the soldiers' lot in Spring Grove cemetery.


Mr. Cist also names, as portrait and landscape painters in Cincinnati before 1851, Messrs. C. R. Edwards, Jacob Cox (afterwards of Indianapolis), D. B. Walcutt, the brothers C. J. and Jesse Hulse, C. S. Spinning, George W. Philipps, P. McCreight, Ralph Butts, A. P. Bonte, George W. White, Jacob H. Sloop, and Miss S. Gengembre; none of whom attained distinguished honors.


The only colored artist of note Cincinnati has produced is R. S. Duncanson, who opened his studio here in 1843. He was presently taken up by the Anti-slavery league, which saw in him a valuable piece of testimony against the assertion that the colored people are devoid of genius, and was aided by the society to go to Europe, where he resided for a time in Edinburgh. His talent was versatile, enabling him to turn out at will portraits, landscapes, fruit, flower, or genre pieces, or even historical pictures. He painted the portraits of Charles Sumner, James G. Birney, and other anti-slavery agitators. In the higher walk of the art his principal pieces are: "The Trial of Shakspere," "Shylock and Jessica," "The Ruins of Carthage," "The Western Hunter's Encampment," etc.


The painters of the later and present days in Cincinnati are mostly portrait painters. Among them have been, or are: John Aubrey, Dwight Benton, Anthony Biester, A. Gianini, E. D. Grafton (a painter in water-colors), Herman Goldsticke (removed to Quincy, Illinois), R. H. Hammond, J. A. Knapp, T. C. Lindsay, Israel Quick, Mary . Richardson, Alexander Roeschke, Charles Rossi,

Louis Schwebel, Raphael Strauss, Will P. Noble, Rudolph Tschude, Michael Lendouski, T. C. Webber, Henry Mosler, Frank Duveneck, and others.


The first named of these, Aubery, has done something in historical as well as portrait painting. His "Gloria in Excelsis Deo," "Prometheus," "Charon," and "Eve's Daughters,” are warmly praised. He was the painter of the altar-piece in the Church of the Holy Trinity, in this city, burned a number of years ago. Mr. A. has been a painter in Cincinnati for nearly a generation, and his works are almost countless.


Mr. Webber has also painted in the historical field—as "Rip Van Winkle" and "The Rescue," the latter of which has been numerously reproduced in chromo-lithograph. A number of Mosler's miscellaneous pieces have been similarly copied and widely scattered—his "Lost Cause," "Found," "Asking a Blessing," etc. His "Preparing for Sunday" is considered one of his best pieces. Mr. Benton has likewise some pictures outside the line of portrait-painting, as, "Evening," "Morning," and "The Wood-Path."


Duveneck is the most widely celebrated of Cincinnati artists. He is a native of Covington, of an old German family there, born in 1848. While still a boy he exhibited signs of talent, and at thirteen became the pupil of Schmidt, in Covington, with whom he remained for six years, during which he traveled much over the United States and the Canadas, painting saints and angels in the Catholic churches. Among his figures was, a Madonna, which had such marked and original characteristics that it attracted great attention to his work, and materially aided him in procuring the means for study in Europe. At nineteen he reached Munich, where the new school of Dietz was just rising into prominence. Duveneck joined himself to it, in full sympathy with its vigorous color and realistic tendencies; and soon won a place among his seniors by his delicate and able treatment of study-heads. He here made a strong portrait of a classmate, since Professor Loefftz, which is owned by Mr. Herrman Goepper, in this city. His later "Circassian" is considered among the masterpieces in the Boston Museum, and, either by accident or intention, appears first on the catalogue. It is related of this that it could not secure a purchaser in Cincinnati at any price, but that a friend of Duveneck's finally took it at fifty dollars, carried it to an art exhibition in Boston, and easily sold it there for eight hundred dollars! The graceful genii which beautify the ceiling of the Grand Opera House are also the work of Duveneck's facile brush. He spent ten years in this city, but was comparatively unappreciated, and reaped small pecuniary reward from his labors; he then returned to Europe. One of his pupils, also a graduate of the School of Design, Mr. Alfred T. Brannan, remains. A praised picture of his—"A Garden Scene in Portugal"—is the property of Mr. A. Gunnison, of Glendale.


Henry F. Farny employs his talents principally and profitably in designing the pictures for school books, a department of art which he has almost revolutionized. He has made several visits to the Indian tribes to study their dress and manners, for the purposes of his work. His picture of "The Fugitives" has a history somewhat similar to that of Duveneck's "Circassian," in that it found no purchaser here at anything like its value, but was finally sold at the nominal price of forty dollars, taken to New York and sold for five times as much.


Of late Mr. Farny's work in the beautiful and striking illustration of Professor W. H. Venable's well-known poem, "The Teacher's Dream," published as a holiday gift book for 1880, has attracted much attention.


31


242 - HISTORY OF CINCINNATI, OHIO.


William Lamprecht, an historical painter of considerable celebrity, resided for some time in Cincinnati, but did not meet the encouragement he seemed to deserve. Among his best known pieces are "Fenwick, the Apostle of Ohio," a portrait of the first bishop of Cincinnati, with an effective landscape and fitting surroundings; "Marquette Discovering the Mississippi," and "The Crowning of St. Mary's," which is in St. Mary's church, in this city. He worked for a time here in company with Lang, who made a specialty of architectonic painting, and left specimens of his art in St. Ludwig's church. He too went away, returning to his Fatherland.


Others who attempted to make an artist home in Cincinnati, but finally settled elsewhere, include Philip Walter, a miniature painter and also a talented musician, conductor of the Cincinnati Saengerfest of 187o, now of Baltimore; Kemper, of Philadelphia; and young Dennis, of Antwerp, in Belgium.


Professor Thomas S. Noble, painter of the "Hidden Nemesis" and "Forgiven," is principal of the School of Design, a department of the university of Cincinnati.


Among the home artists, amateur and professional, whose works have figured of recent years at the expositions and in the windows of art stores, are Mrs. H. James, with fruits, flowers, and birds; Mary Spencer, flower's; Mary E. Snowden, portraits; Colonel George Ward Nichols, president of the College of Music; Mr. Landon Long-worth; Claude R. Hirst, devotional pictures; Gustave and Joseph" Malchus; George Sharpless and J. R. Tait, landscapes; Joseph Turanjou and W. W. Woodward, pupils of Gerome; J. H. Twachtman, landscapes; and Hiram Wright, game and fruit pieces.


The sculptors of Cincinnati, besides those already mentioned, have not been numerous, but talented in proportion to their rarity. Charles Bullitt was a French artist, who set up his studio at the corner of Fourth and Elm streets, chiefly for the sculpture of portrait-busts and medallions. He went to New Orleans a little before the war of the Rebellion broke out.


About the same time Signor G. Fazzia, an Italian, was here modeling portraits and statuary in clay and plaster.


M. Ezekiel was a young sculptor for a time in this city, who chiseled, among other work, the Hebrew monument in Washington city, said to be the largest piece of marble statuary in the country. He has been in Rome for a number of years.


August Mundhenk, a young artist, exhibited his "Auld Lang Syne" with credit at the Centennial Exposition. Himself and partner, Herr Konrad Hoffman, both founders of the Munich Art School, introduced the zinc-cast statuary into the city, of which the copy of Kiss's Amazon and the griffins in front of the building of the Amazon Insurance company, on Vine street, are fair specimens.


Frederick and Henry Schroeder, brothers, are sculptors in wood, working mainly upon altars and pulpit ornaments for the churches. Herman Allard, a pupil of Achterman at Minster, labors in the same work of art. His more famous pieces are: "The Death of St. Joseph," "Germania, the Protectress of Art and Science," and a life-size statue of an Indian in his war-dress. He was also the sculptor of the statue of St. Paul, heroic size, exhibited at the Exposition of 1873. Mr. Joseph Libbel, a student and comrade with Allard, produced "Always my Luck," which took a premium at one of the exhibitions of the School of Design; also "Asleep," "Caught," and other pieces of statuary.


Signor Louis T. Rebisso, teacher of sculpture at the University School of Design, and modeler of the equestrian statue of General McPherson at Washington city; Charles L. Fettweis, jr., a native of Cincinnati, afterwards a student at Rome, and sculptor of "The Castaway," or "Wrecked," "The Italian Shepherd Boy," "Germania," the colossal statue adorning the building of the German Mutual Insurance company on the corner of Twelfth and Walnut streets, and the bust of General R. L. McCook in Washington Park; Francis X. Dengler—"the poet among our artists," says Mr. Ratterman, "where the others are but simple prose-writers"—sculptor of "Imelda and Azzo," "Blind," and "Damroschen," which, the last-named, won a gold medal at the Art Academy of Munich, while the first was pronounced by Lamprecht the greatest work of American art—now professor at the Boston Art Museum; with Mrs. Wilson, of Walnut Hills, modeler of a large piece of statuary cut in marble at Rome for Lane Seminary, are other honored names in the later roll of Cincinnati sculptors.


THE ART FOUNDRY.


Within a few months a notable impetus has been given to this department by the establishment of the Cincinnati Art Foundry, at No. 21 Hunt street. The partners in this enterprise are all of foreign birth—Louis T. Rebisso, of the Art School; August Mundhenk; and Conrad Walther, who was of the famous royal foundry at Munich, and came with the Tyler-Davidson fountain to this city to aid in setting it up, afterwards returning to settle here. They are undertaking art-works in marble or any kind of metal; as fountains, monuments, reliefs, statues, groups, etc. Among the works already executed or in process of excution are the heroic statue of General McPherson, designed by Rebisso, and the Odd Fellows' monument, in Spring Grove Cemetery, executed at a cost of twenty thousand dollars. The studio and shops of these gentlemen are now among the most interesting features of fine art in the Queen City.


ARCHITECTURE.


This is now distinctly recognized as one of the fine arts; and, notwithstanding the plainness of many of the earlier buildings yet standing, there are enough of the .higher order to illustrate the development of this branch of art in the Queen City. It was long after Losantiville, however, before the primitive log cabin or the rude frame building formed of boat-boards or the product of the early saw-mills gave way to more ornamental and tasteful structures. Until about 1800 the log cabin was still the type of the Cincinnati building; then the plain frame house became common; and finally, with the general advent of brick and stone, a better era of architecture set


HISTORY OF CINCINNATI, OHIO - 243


in. In the enumeration of the buildings of the town, made 1815, less than two per cent. of them were found to be of stone and but about twenty-three per cent. of brick. The number of brick and stone buildings had increased by 1819, the year the city government was instituted, to four hundred and thirty-two, or about two-ninths of the whole number ; and in 1826 to nine hundred and fifty-four, or three-eighths of alh The Germans inclined specially to the brick house, from the accustomed weight and solidity of their buildings in the Fatherland. In many cases, it is said, the buildings of Cincinnati's first half-century were erected not only without the aid of an architect, but without building-plans or designs of any kind in a formal draft; and when they were first introduced, they were rudely drawn by the builder upon a smooth board or a shingle, and not elaborately, as now, on draughting paper. Even the pioneer public buildings, as the First Presbyterian church, erected in 1792, were put up without plans and specifications. The second church built by the same society about 1813, was still very plain, but of brick, had two spires of the utmost simplicity, and was otherwise almost wholly devoid of ornament. It is not until 1824, in the Directory of that year, that mention is made of an architect by profession —Mr. Michael Scott, an Irishman by birth, and until that year, or thereabouts, a house carpenter. In the spring of 1825 he designed the plans of the old St. Peter's cathedral on Sycamore street, on the site now occupied by St. Xavier's church. A picture of this may be seen in Howe's Historical Collections of Ohio and in the single volume of the Monthly Chronicle, published by the late E. D. Mansfield, in 1839.


No successor or rival to Scott appeared until 1834, by which time the pioneer architect was dead. Then came Seneca Palmer, from Albany, who was the architect of the original Lane seminary buildings, of which the chapel, with its Doric front and colonnade of pillars, is the most marked remain. He also designed the building for the Western Baptist Theological seminary in Covington, and it is believed also the Lafayette bank building on Third street. Some of his best plans are undoubtedly to be attributed to a superior German architect, Mr. John Jolasse, who was in his employ. They were kept to reasonable plainness, however, by the comparative poverty of house-owners at that time, as well as the incipiency of taste for ornamentation in architecture. Sometimes, in the effort at display, a comical mixture of styles occurred, as Doric or Ionic mouldings upon a Gothic window, or a Tuscan column surmounted by a Corinthian capital. It is said the old Trust company's building, at the corner of Third street, had a colonnade of Doric pillars with Ionic capitals. The most hideous example, however, long remained in the well-known "Trollope's Folly," or Bazaar building, on Third street, west of Broadway. It was erected in 1829-30, and presented a most absurd commixture of Oriental and Occidental styles, of which endless fun was made by the English tourists who since visited it, as well as by the citizens of the community it afflicted. Its architect is said to have been the painter Hervieu, a Frenchman who came with Mrs. Trollope, and was the designer of the caricatures upon American manners in her book, as well as decorator of her building and painter of a large picture of Lafayette's Landing at Cincinnati.


Francis Ignatz Erd, designer of the plans for St. Mary's Catholic Church, on Thirteenth street, was another of the early architects ; also Henry Walter, who is mentioned first in the directory of 1842, but who was long before that designer, in the Greco-Doric style, of the old Second Presbyterian Church on Fourth street, where now the splendid warehouse of the Mitchell & Rammelsberg Furniture Company stands, and of St. Peter's Cathedral, on the corner of Ninth and Plum streets, which has been so much admired for more than forty years, notwithstanding its incongruities of architecture ; also of the House of Refuge, in the Norman-Gothic style, a truly splendid edifice. Mr. Walter died shortly after its commencement, and the work was then entrusted to his partner, Mr. Joseph W. Thwaites, and his son, William Walter. The latter, afterwards in association with James K. Wilson, has long been a prominent architect here.

The burning of the old Shires' Garden Theatre, on the corner of Third and Vine streets, in 1847, and the projecting of the Burnet House by a company of local capitalists, brought to the city Mr. Isaiah Rogers, one of the most famous architects in the west until his lamented death. He was designer of the noble structure named, which was a marvel of hotel architecture in those days, and is still unsurpassed by its kind in the city. The Lunatic Asylum at Longview, likewise designed by Rogers, embodies the same ideas as the Burnet House, but on a larger scale.


After the coming of Rogers and the impetus given by increasing taste and prosperity to beautiful architecture, the gentlemen of the profession rapidly multiplied. In 1848 are noted, as architects here, Messrs. B. L. W, Kelley, Robert A. Love, James 0. Sawyer, George W. Stevenson, and James K. Wilson ; in 1850, Joseph J. Husband ; 1851, John Bast ; 1853, J. R. Hamilton, J. B. Earnshaw, Joseph Gottle, Otto G. Leopold, James McClure, Robert Haines, William H. Bayless, Hudson B. Curtiss, William Tinsley & Son, E. C. Schultz, and Stephen Reddick ; Charles B. Boyle, Adrian Hagemann, and William S. Rosecians (since known to the world as the Union general and now Congressman), in 1855 ; James W. McLaughlin, Edwin A. Anderson, Carl Victor Bechmann, and Samuel Hannaford, in 1858; Anthony & Louis Piket, father and son, and Georg Willmer, 1859 ; Charles P. Dwyer, John Mierenfield, and Francis W. Moore, in 1863; and so on down in rapidly increasing numbers. The principal buildings designed by these are the Hughes High School, Norman-Gothic, by Earnshaw; the Woodward High School, English-Gothic; by Hamilton; St. Peter's German Protestant Church, by Louis Piket ; the magnificent St. Xavier's Church, German-Gothic, and the St. Xavier College, by Anthony Piket ; and some others, including the present First Presbyterian Church, the Mechanics' Institute and Medical College buildings, the Court House, etc.


The heavier Grecian and Roman styles of architecture have long been out of fashion in Cincinnati, and have


244 - HISTORY OF CINCINNATI, OHIO.


been superseded by the more picturesque orders. The elegant post office building, on the corner of Vine and Fourth, is about the last example of the old styles that was erected here. The later Byzantine style is well represented in the Masonic temple, St. Francis' (Catholic) church, and the depot of the Cincinnati, Hamilton & Dayton railroad. All of these were designed by James W. McLaughlin. Other fine specimens ars the St. Georgius church., on Calhoun street, and the Catholic. Institute building, now the Grand Opera House. The Italian or Renaissance style appears in the great Government building on Fifth street, designed by the Government architect, Mr. A. B. Mullett; the Johnston building, by McLaughlin; the Cincinnati hospital, by A. C. Nash; the German Mutual Insurance company's building, by John Bast; the old Music Hall, by Sigmund Kutznitzki; Robinson's and Pike's opera house, the-Grand hotel, the Gibson house, the Public library, the hilltop resorts known as Bellevue and the Highland house, the Arcade, the Carlisle, Mitchell, Sinton, Halbert, Simon & Thurnauer blocks, and many others of more or less recent construction. Several of these combine sculptural with architectural art in their external effects. It is said that the first piece of statuary applied to a building front in the city is that on the Baker building, Fourth street, between Main and Walnut—a life-sized statue of Cincinnatus, by Nathan F. Baker.


The Moresque style of architecture is superbly represented here by the two Jewish temples—the synagogue of the Children of Israel and that of the Benai Jeshurun.


Mr. Samuel Hannaford designed several buildings, among the more notable structures of Cincinnati's later day, which it is difficult to classify, except as of his design. Such are the city workhouse, the present Music Hall, and the Longworth and Bell buildings on Central avenue.


THE SCHOOL OF ART AND DESIGN.


The history of this institution, a department of the Cincinnati university and the first to be founded, has already been outlined in our chapter on education. It now comprises not only the School of Art and Design proper, opened January 4, 1869, but also the Wood-carving school, started under Benn Pitman in 1873, and the department of sculpture, organized by Professor Rebisso in 1875. The former was the first school ever established for the instruction of women in artistic wood-carving. Some of the admirable work done by its young-lady students may be seen upon the carved screen in front of the great organ in. Music hall. This work was a labor of love for those engaged upon it, and is justly reckoned very elegant and tasteful. An exhibition of the work of the school made at the Centennial fair in Philadelphia, in the Women's pavilion, excited much attention, and won the award of three medals. It success has led directly to the establishment of similar schools in St. Louis, Wheeling, Rochester, Portsmouth, Ohio, and Sheffield, England. The Hon. Samuel F. Hunt, president of the board of directors of the university, in his address at the annual commencement in June, 188o, thus testified to the influence of the Art school:


The influence of the school in Cincinnati during the eleven years of its existence has been of lit marked character. It has elevated the standard of taste in the appreciation of all beautiful things. In fact, all the industries of this city in which artistic decoration is employed to enhance the value of the manufactured article are indebted to this school, not merely for the general improvement in taste, but for the education of many of the skilled artisans who produce the work. The object of the instruction is not, as many suppose, for the sake of an accomplishment, nor, indeed, for the development of. the fine arts alone. It is designed to give thorough technical training in the principles as well as in the art of drawing, so that the information may subsequently be applied in all operative forms, whether of machinery, engineering, architecture, manufactures, or the arts. It, is proposed to expand the inventive faculty of applying new forms to material. Rich and poor are alike received and alike trained free of charge, and the crowning usefulness of the school consists in the fact that a correct taste and a high artistic skill are inspired in those who carry it directly into the workshops of Cincinnati. Many have gone to all parts of the country from this school, who are now filling positions as teachers, artisans or artists. Those who have gone abroad to complete their art education have taken honorable rank at once in the foreign schools. At the last exhibition of the Fine Art academy at Munich three of the former students were, at the end of the first year, awarded medals and one received honorable mention. In Paris another was admitted to the class of Gerome in the Ecole des Beaux Arts—a tribute to the thoroughness of previous training. The group of Mr. Charles Nieham was placed in a niche of the gallery set apart for the most successful worker in the school.


Cincinnati is a great manufacturing centre, and there are many skilled workmen in her shops. The great need is to apply that msthetic taste and that educated hand and ear and eye, as far as may be necessary, to industrial pursuits. There is great need to destroy the idea that any antagonism exists between art and industry. It will be found that the greater part of our manufactures owe their merit, their attraction and their profitable sale to the degree of taste which they exhibit in the art of design. This will not only be seen in the manufacture of bronze and the more valuable metals, but in tapestry and silks and satins and multiplied in calico prints.


A prominent manufacturer of the city adds the opinion that the establishment of this department of the university has already revolutionized the style of the higher grades of goods, and that Cincinnati is rapidly taking the lead of all cities in the world for first-class parlor furniture. Sixteen ladies from the school of wood-carving were employed by Mr. William Hooper, who was building an elegant residence on the hills, to decorate the entire wainscot paneling of a large hall, which was done, it is said, "with such excellent taste and feeling that it has called forth the most hearty commendation from the proprietor as well as from others who, from study and observation, are capable of forming an intelligent opinion." The very shop-windows of the city, now among the finest in the world, show in a conspicuous way the influence of the art school. A thorough, graded course of instruction has been introduced, culminating in a university diploma at the end of successful study. Instead of prizes at the annual exhibition, the quality of work exhibited is hereafter to determine the grade of diploma awarded.


Among the art-works possessed by the school are casts from some of the most famous antiques, as the Laocoon, the Venus of Milo, Diana and the Stag, etc., of heroic size; the Wrestlers, the Discobolus, the Venus de Medici, and others, life size; Cincinnatus, the Faun with a Flute, the Moses of Michael Angelo, the Dying Gladiator, and many more, of reduced size; with still smaller casts, busts, fragments, etc., and many large and small paintings, crayon and pastel drawings, autotypes from drawings of old masters, engravings and lithographs, and a


HISTORY OF CINCINNATI, OHIO - 245


valuable library of books on art. The collection includes the gift of paintings and statuary made to the " McMicken university" in June, 1864, by the Ladies' Academy of Art, the institution organized by Mrs. Sarah Peter and others some time before 1855, but not now in existence. This donation really started the movement which led to the formation of the art school.


FRY'S CARVING-SCHOOL


is a private institution under the management of the veteran artist in wood, Professor Henrv S. Fry, and his son William H. Fry, and a granddaughter. These instructors and artists did much of the beautiful work on the great organ in Music hall, and also the adornment in carved work of Mr. Henry Probasco's residence in Clifton and the dwellings of Judge Longworth and Colonel George Ward Nichols, on the Grandin road. Their school is over Wiswell's art store, at No. 7o Fourth street.


ART MUSEUM ASSOCIATIONS.


The Women's Art Museum Association of Cincinnati grew out of a resolution adopted at the final meeting, January 18, 1877, of the Women's Centennial Executive Committee of Cincinnati, as follows:


Resolved, That it is the wish of this committee that they re-organize as an association to advance women's work, more especially in the field of industrial art. Also,


Resolved, That Mrs. A. F. Perry be requested, at a suitable time, to call a meeting for deliberation, and lay before it a definite plan of work.


In pursuance of these resolutions, a meeting of ladies was held January 27, 1877, at which the paper requested was presented by Mrs. Perry. It argued ably, with ample and forcible illustrations, for the establishment of a ladies association here, which should look to the founding of an art museum. A joint meeting of ladies and gentlemen was held March 12th, at the house of Mrs. A. S. Winslow, which resulted in the appointment of a committee to prepare a scheme for the organization and establishment of an art museum and training schools in this city. The committee reported at a subsequent meeting at the same place, recommending "that the ladies who have been for some time discussing the feasibility of such an undertaking should perfect an organization, in aid of the movement; and, in order to inspire confidence in those who may wish to contribute to the support of the enterprise, they recommend further that the following named gentlemen: A. T. Goshorn, Joseph Longworth, L. B. Harrison, A. D. Bullock, A. S. Winslow, Julius Dexter, George Ward Nichols, William H. Davis, O. J. Wilson, be invited to act as a committee to draft a form of subscription and to take such steps as, in their judgment, will best promote the establishment of an art museum, until such time as the subscribers to a fund for this object shall effect a permanent organization."


At a meeting of ladies alone, held Saturday, April 28, 1877, to complete an organization whose object should be to interest the women of Cincinnati in aid of the establishment of an art museum in the city, it was resolved to give it the form of an association, which should reach by its membership every neighborhood, circle, and interest of the city and its suburbs. At this, meeting a constitution was adopted and officers elected for the following year. The constitution defined the objects of the association to be "the cultivation and application of the principles of art to industrial pursuits, and the establishment of an art museum in the city of Cincinnati." The officers elect were:


President, Mrs. Aaron F. Perry; vice-presidents, Mrs. John Davis, Mrs. A. D. Bullock, Mrs. John Shillito, Mrs. A. S. Winslow, Mrs. George Carlisle, Mrs. William Dodd; treasurer, Mrs. H. C. Whitman; secretaries, Miss Elizabeth H. Appleton, Miss Laura Vallette. Mrs. Perry is still president, Miss. Appleton recording secretary, and Mrs. Whitman treasurer of the association.


The organization did much good work in the stimulation of fine art in the community, the holding of a loan exhibition in 1879, the preparation of many art works by its own members and their exhibition at the annual industrial expositions in the city, and by putting ideas and plans in the air which undoubtedly hastened the oncoming of the more immediately promising movement we are now about to record.


On the eighth of September, 1880, at the opening of the annual industrial exposition, a letter was read from Mr. Charles W. West, a retired and wealthy merchant of Cincinnati, offering the munificent gift of one hundred and fifty thousand dollars for the establishment of an art museum in the city, conditioned upon the subscription of an additional and similar amount by others for the same purpose. The gift was hailed with immense acclamation near and far, and the work of raising the remainder was entered upon promptly. In a very few weeks, even before the exposition had closed, by the action of a few public-spirited gentlemen and the beneficence of a number somewhat larger, the entire sum was raised, with several thousands to spare. The subscribers were then formed into a joint-stock company, which has held a number of meetings, principally with reference to a site for the museum. This matter was the subject of warm debate in the newspapers and community, as well as among those more closely interested; and many sites apparently eligible were suggested. As this work goes through the press, a site has not yet been definitely determined. A suitable building will of course go up rapidly upon it, when chosen, and art-collections cluster within its walls at once upon its completion.


ART-CLUBS.


The only societies of this character known to the general public in Cincinnati are the Pottery and Etching clubs. The former is a ladies' society, organized in April, 1879, by a number of ambitious amateurs, for the decoration in underglaze painting of pottery made from the Ohio valley clays. It meets twice a week in the rooms of the Women's Art Museum association, in Music-hall. Its president, Miss M. Louise McLaughlin, is author of "China Painting: A Practical Manual for the Use of Amateurs, in the Decoration of Hard Porcelain," which has been published in several editions, and of one or two other related books. She and others of the club have made very beautiful exhibits at the Industrial expositions.


The Etching club is a society of gentlemen, under the


246 - HISTORY OF CINCINNATI, OHIO.


original presidency of Mr. Daniel S. Young, founded in March, 1879, and meeting fortnightly at the studio of the artist Farny, in Pike's Opera-house building, where the members have the use of a press for taking impressions of their etchings.


CHAPTER XXVI.


MUSIC.


THE FIRST SOCIETIES.


The divine arts of harmonious and melodious vocalization and instrumentation had, like those of the fine arts which appeal to the eye, an early beginning in the Queen City. Readers, who have pushed their way through the annals of Cincinnati's first decade, will remember that very early in those years a Mr. McLean, joined to several other vocations, as of butcher and public officer, that of a singing-master. From time to time during all the years of Cincinnati village and town, advertisements similar to those of country singing-schools appear in the local papers. For example, in a local paper for September, 1801, Mr. McLean advertises a singing-school to be maintained by subscription at one dollar a member for thirteen nights, or two dollars per quarter—"subscribers to find their own wood and candles."


At last, in the very year when Cincinnati town became Cincinnati city, we begin to have definite information of the formation of musical societies—as the Episcopal Singing society, organized in 1819, with Luman Watson, the clockmaker who was afterwards Hiram Powers' master, for president; F. A. Blake, vice president; Ed B. Cooke, secretary; and James M. Mason, treasurer. The younger Arthur St. Clair offered a lot and Mr. Jacob Bay-miller a building as a permanent home for this society. It nevertheless met in Christ Episcopal church, otherwise the old Baptist meeting-house on Sixth street, which had been leased by the Christ church organization.


The same year, and only four years after the Handel and Haydn society was organized in Boston, the Haydn society was organized here, composed of singers of the different choirs and other musical organizations of the infant city. Its first concert was given May 25, 1819, in the Baptist-Episcopal church mentioned, for the benefit of a fund' to purchase an organ for the church. The novelty of such an entertainment in Cincinnati is distinctly hinted in an announcement of it in the Spy newspaper, which said:


Public concerts of this description, although rather a novelty here, are quite common in the eastern cities, and if well performed never fail to afford great pleasure to the audience.


The same paper was enthusiastic in its praise after the affair, 'saying it gave "very general satisfaction," and adding:


In addition to the excellent selection, the execution would have reflected credit on our eastern cities, and the melody in several instances was divine. This exhibition must have been highly gratifying to those who begin to feel proud of our city. It is the strongest evidence we can adduce of our advancement in those embellishments which refine and harmonize society and give a zest to life. We hope that another opportunity will shortly occur for a. further display of the talents of the Haydn society. For their endeavors to create a correct musical taste among us they deserve our thanks ; but when to their efforts is added the disposition to aid the views of public charities or the services of the church, their claims to the most respectful attention and applause rise to an obligation on the community.


The Haydns gave their second concert in the fall of 1819, with a programme partly composed of classical music. Tickets were one dollar each—"one half of the proceeds to be appropriated to the several Sunday schools in the city, the other half to be applied for the purchase of music to remain the permanent property of the Cincinnati Haydn society." The committee of arrangements for this concert consisted of Edwin Mathews and Charles Fox, the latter of whom, in union with Benjamin Ely, advertised a singing-school to open at the Second Presbyterian church December 17th following, "at early candlelight."


It is certain that, long before 1819, there was a lively interest in musical affairs here, for a prominent Cincinnatian, the well-known author Timothy Flint, had had printed in 1816 at the Liberty Hall office a new music book called The Columbian Harmonist, for which there must have been some local demand, or he would not have ventured it upon the market. A year or more before this, in Liberty Hall of April 8, 1815, proposals were advertised for the publication by subscription of "a new and valuable collection of music, entitled 'The Western Harmonist,' by John McCormick," in which is this statement: "The author, having been many years in the contemplation of this work, flatters himself that he will be able to furnish the different .societies with the most useful tunes and anthems." From this it appears that there were also musical societies already in existence, from whom the author expected co-operation and material aid. A brass band is known to have been formally organized under a more general name as early as 1814, by inference from the following notice in Liberty hall of October 11th, of that year:


CINCINNATI HARMONICAL SOCIETY.


At a meeting held at Mr. Burt's tavern on Saturday evening last, it was unanimously resolved that the society shall meet at the established hour at the same place on Saturday evening of each succeeding week ; and that on next Saturday evening a proposed amendment of the bylaws will be finally discussed, of which previous notice shall be given to the society in general.


The members are therefore requested to be punctual in attending on Mr. Burt's on the fifteenth instant, at seven o'clock, P. M.


A general attendance of the honorary members is particularly required. By order,


THOMAS DANBY, Secretary.


CINCINNATI, October 10.


The annual concert and ball of this society or band was given December sixteenth ensuing, "at the large brick house on Front street, lately occupied by General Harrison." The repertoire of the band was quite extensive, and its selections, as played after the toasts at the banquet on the Fourth of July, 1819, are well worth naming again, as hints of Cincinnati band-music two generations ago. They were: Life let us Cherish, Will


HISTORY OF CINCINNATI, OHIO - 247


you Come to the Bower, Hail Columbia, The White Cockade, Victory of Orleans, Italian Waltz, Echo, Mon-roe's March, America, Commerce and Freedom, Liberty or Death, Masonic Dead March, Liberty's March, Hull's Victory, Friendship, Lafayette's March, March in _Blue Beard, Adams and Liberty, Star-spangled Banner, Sweet Harmony, Massachusetts March, Haydn's Fancy, Miss Ware's March, Pleyel's Hymn, Lawrence's Dirge, Away with Melancholy, Rural Felicity, Harmonical Society's March. It is believed that this society flourished to some date this side of 1820.


The style of musical instruction in those days was somewhat unique. Such an advertisement as the following, which appeared in a local journal of December 18, 1815, would be regarded nowadays as decidedly queer, and perhaps as indicating small performance for so large promise:


MUSICAL ACADEMY


at Mrs. Hopkins', opposite Columbia Inn, Main street, Cincinnati. For teaching in a scientific and comprehensive manner, a scholar thirteen tunes at least, in eighteen lessons, or no compensation will be required, on any of the following instruments, viz :


Clarinet,

Trumpet,

French horn,

Bugle horn,

Oboe,

Grand oboe or voice umane

Trombone,

Fife,

German flute,

Cymbals, etc., etc., etc.

Flagotto or bassoon,

Serpent,

Flagolet,

Sacbut,

Hurdygurdy or beggar's lyre,

Violin,

Violincello,

Bass drum,

Octave flute


Military bands taught accurately and expeditiously, on a correct scale, on any of the above instruments, with appropriate music, by


JAMES H. HOFFMAN, P.


A writer in the Daily Gazelle of May 15, 1880—a number giving many historical facts concerning music in Cincinnati—to whose industry we are indebted for these citations, finds also notes of two other early concerts. On Saturday, May 29, 1819, "the Caledonian youths from Glasgow" gave a select concert on the Scotch harp at the Cincinnati hotel, and on July 18, 1821, three singing societies united in giving a concert of sacred music under the direction of Charles Fox, at which "Comfort Ye My People," and the Hallelujah Chorus from Handel's Messiah were sung for the first time in Cincinnati.


NOT THE FIRST CONCERT.


It is very singular that Miss Martineau, who was here in 1835, should have received the impression from 'some Cincinnati friend, or otherwise, that the concert given during her visit was the first ever offered to the local public, when, doubtless, several scores had preceded it. Yet she so mentions it in her notes of the affair, as published in her Retrospect of Western Travel:


Before eight o'clock in the evening the Cincinnati public was pouring into Mrs. Trollope's Bazaar, to the first concert ever offered to them. This Bazaar is the great deformity of the city. Happily, it is not very conspicuous, being squatted down among houses nearly as lofty as the summit of its dome. From my windows at the boarding-house, however, it was only too distinctly visible. It is built of brick, and has Gothic windows, Grecian pillars, and a Turkish dome; and it was originally ornamented with Egyptian devices, which have, however, disappeared under the brush of the whitewasher.


The concert was held in a large, plain room, where a quiet, well-mannered audience was collected. There was something extremely interest ing in the spectacle of the first public introduction of music into this rising city. One of the best performers was an elderly man, clothed from head to foot in gray homespun. He was absorbed in his enjoyment, so intent on his violin that one might watch the changes of his pleased countenance the whole performance through, without fear of disconcerting him. There was a young girl in a plain, white frock, with a splendid voice, a good ear, and a love of warbling which carried her through very well indeed, though her own taste had obviously been her only teacher. If I remember right, there were about five-and-twenty instrumental performers and six or seven vocalists, besides a long row for the closing chorus. It was a most promising begining. The thought came across me how far we were from the musical regions of the old world, and how lately this place had been a canebrake, echoing with the bellow and growl of wild beast; and here was the spirit of Mozart swaying and inspiring a silent crowd, as if they were assembled in the chapel at Salzburg !


These were, we believe, all local performers.


THE CHRONOLOGICAL STORY.


In a more consecutive way Mr. H. A. Ratterman, in an elaborate essay read before the Literary club November 9, 1879, has outlined the history of early music in Cincinnati. We subjoin some notes from the pages that embody the results of his industrious and well-directed labors:


General Wilkinson, who was commandant at Fort Washington after the departure of General Anthony Wayne, kept a band at the fort, which seems to have been rather highly accomplished for the time. They were, indeed, German and French musicians, who, says Klauprecht, in his German Chronicle in the History of the Ohio Valley, after speaking of Wilkinson's superb barge and the pleasure-parties thereon, "accompanied them with the harmonies of Gluck and Haydn, and the reports of the champagne bottles transported the guests from the wilds of the Northwestern territory into the Lucullian feasts of the European aristocracy."


But the time came when the gay general removed his headquarters to New Orleans and when Fort Washington passed into history. The artistic band also then disappeared, except from the pleasant memories of the pioneers and the old soldiers formerly at the fort.


One of the earliest musicians in Losantiville was Mr. Thomas Kennedy, a Scotchman who came in the spring of 1789, and afterwards removed to the Kentucky shore, long giving to what has since become Covington the name of Kennedy's ferry. This bonnie Scot, like the renowned Arkansas traveller, has found a place in literature by the skillful use of his violin. A fellow-countryman of his, Mr. John Melish, was here in September, 1811, and of course visited Mr. Kennedy. In one of his volumes of travel he accordingly makes record:


Before we had finished our breakfast, Mr. Kennedy drew a fiddle from a box, and struck up the tune of "Rothemurchie's Rant." He played in the true Highland style, and I could not stop to finish my breakfast, but started up and danced Shantrews. The old man was delighted, and favored us with a great many Scottish airs. When he laid down the fiddle I took it up and commenced in my turn, playing some new strathspeys that he had not heard before ; but he knew the spirit of them full well, and he also gave us Shantrews, "louping near hawk hight," albeit he was well stricken in years. He next played a number of airs, all Scottish, on a whistle.


Herr Klauprecht, in his " Chronik," says that a musical organization called the St. Cecilia society was in existence here as early as 1816; but very little else is now known of it. The notices gleaned from the newspapers of the decade 1810-19 probably furnish all that is now certainly known of the musical societies of that time. A number of them appear in the first few paragraphs of this chapter.


Somewhat earlier than 1816, probably, an amateur band practiced at the residence of Frederick Amelung,


248 - HISTORY OF CINCINNATI, OHIO.


on Sycamore street, opposite the later site of the National theatre, where the artists subsequently rendezvoused. He was himself a musician, and also received notice in the literature of travel, Mr. F. Cuming, in his Sketches of a Tour to the Western Country, made in 1808, having noticed him in connection with a visit to Pittsburgh, where Amelung then lived. Among the members of this early musical society are said to have been Martin Baum, already a prominent merchant in town; Mons. Menessier, the eminent jurist and parliamentarian in Paris, but here the humble pastry cook on Main and Third streets; Albert Von Stein, a famous builder of waterworks, including the first waterworks of Cincinnati; Dr. Carl G. Ritter, a confectioner on Lower Market street; and Augustus Zemmer, another on Main street; Philibert Ratel, professional musician and the first dancing master in the place; George Charters, piano-maker; and Edward H. Stall, a druggist on Front street. It is shrewdly conjectured that the name of this musical club was the Apollonian society, since that was the name of the similar organization which met at Amelung's house in Pittsburgh, and is the name found in the Cincinnati Directory of 1825, as that of a musical organization here. This hypothesis, however, requires us to suppose a revival of an older society of the same title; for, says the authority of 1825, this "was organized about a year since," having "for its object the cultivation of vocal and instrumental music." The Directory goes on to say: "It is now in a flourishing state, and consists of forty active and honorary members, and is supported by a monthly tax on its members. The officers are a moderator, a standing committee of three, a treasurer, and a secretary. Singular to say, no musical leader or conductor is named. Old settlers suggest that he was very likely Mr. William Tellow, who came to Cincinnati from Germany in 1817, and afterwards settled at Dayton and traveled with his family as a concert troupe, dying finally at New Orleans about 1835, of yellow fever. The Apollonians of this date were wont to meet in the saloon of George Juppenlatz, a baker at No. 26 Main street, and then at the Apollonian garden kept in the Deer Creek valley by Kothe & Ott, later by Ruter & Ott, a pioneer of the famous German beer gardens of Cincinnati.


In connection with this occurs the first notice of anything like public music in the city, in one of Klauprecht's pages. He says: "On festival occasions there was no want of a German orchestra at this resort of pleasure to play to the dancing of its visitors." Sebastian Rentz played the clarionet, "Speckheinrich" (nickname of Henry Schmidt) the violin; and Jacob Schnetz, the brother of Mr. Longworth's gardener, the piccolo. Monsieur Ratel, who is named above as a professional musician, is deemed worthy, with a musical associate of his, of the following notice from the Gazette writer before cited:


He came from Philadelphia in July, 1877, and, besides the clarionet, flute, bassoon, flageolet, violin, and piano, he taught "country dances, cotillons, allemandes, waltzes, hornpipes, the mienuet de la cour with the gavote, the celebrated Gavote of Vestris, the much admired shawl dance, ballet and opera-dancing, with a variety of garland dances, such as constitute exhibitions. He was a solo player on the clarionet and French flageolet, and played pieces on both these instruments at a concert given by Mr. Garner, at Mack's Cincinnati hotel, on March 16, 182o, at which he also led the "orchestre." In his announcements he flatters himself that by his experience and methods he "can in four or six months, give his scholars a competent knowledge of music and its various tunes to perform alone or in harmony correctly." The Mr. Garner, whom he assisted on this last occasion, was an actor and singer from the east, evidently an Englishman, who played an engagement at the theater some time before, while on a visit from New York and Boston to New Orleans. During his engagement he produced two of the light English operas then in vogne—viz: " The Devil's bridge," and "Lionel and Clarissa." The former is a work that Braham was a favorite in. He had composed the music for his part. "Lionel and Clarissa" is the composition of Charles Dibdin (1745-1814).


No concert seems to have been announced by the Apollonian; and the musical beauties of this society were apparently born to blush unseen and waste their sweetness upon themselves alone. No vocal music is heard of, even in connection with the reception of Lafayette in 1825, when the best of everything the city had to show was brought to the front. There was fine instrumental music in the parade, however, and at the ball, for which musicians had been expressly imported from the east, and over which the veteran Joseph Tosso (who is still living) swayed the impressive baton. Tosso, the sole surviving musical pioneer of those days, is a native of Mexico, trained as a musician in Italy and France, coming to America to try his fortune as a violinist, and to Cincinnati upon a concert-tour, or for the purpose of leading the orchestra during Lafayette's visit andremaining here permanently as a teacher and practitioner of music. He was professor of music in the Cincinnati Female academy on Walnut street, between Third and Fourth, in 1829, and six years thereafter was leader of the orchestra in the Musical Fund society, established April 29, 1835, on the plan of similar societies already existing in Philadelphia and New York. The society had for its object "the cultivation of musical taste, by the encouragement and improvement of professional and amateur talent,- and the establishment of a musical academy, by means of which pupils may be instructed in the theory and practice of music." It was also proposed to establish a relief fund for distressed musicians, and the families of musicians who died in poverty. The new society had originally a strong social and pecuniary backing, if we may judge from the names embodied in the following flattering notice, which appeared in the New York Family Minstrel in July 15, 1835:


MUSICAL FUND SOCIETY. IN CINCINNATI.


We hear very favorable accounts of this institution, which is said to be fostered both by wealth and influence. Its present officers are:


President—Morgan Neville.

Vice-presidents—John P. Foote, Peyton S. Symmes.

Treasurer—Samuel E. Foote.

Secretary—Linden Ryder.

Librarian JohnWinter.


MANAGERS.


T. D. Carneal,

T. Vairin,

Herman Cope,

S. Wiggins,

Nicholas Longworth

W. G. W. Gano,

William Price, M. D.,

S. S. Smith,

Robert Buchanan,

William Yerke,

David T. Disney,

J. S. Armstrong,

Alexander Flash,

David Benson,

William Greene,

John W. Ryan,




HISTORY OF CINCINNATI, OHIO - 249


George Graham, jr.,

William R. Foster,

James Hall,

I. F. B. Wood,

E. Haynes,

Joseph R. Fry,

C. S. Ramsay, M. D.,

J. F. P. Moline.

Physicians—Alban G. Smith, M. D.; V. C. Marshall, M. D.

Counselors—Robert 'F. Lytle, Bellamy Storer.


It is not probable, however, that all these influential personages took a lively interest in the society. Its primal career, at least, was brief; but it was re-animated after an interval of some years, in the autumn of 1840, when the amateur orchestra, with Mr. Tosso at the baton, was about all there was left of it. Still, Cist's book of the next year says it "promises much for the culture of musical taste and science in our city." He adds, however, that the society had not yet elected any other officers since its resurrection than Mr. Tosso as musical director.


Tosso and a Mr. Douglass assciated themselves in 1839 as "musical instrument makers and importers of musical instruments," in a store or shop on the north side of Fourth street, between Main and Walnut. He was thenceforth for many years prominently associated with music and musical interests in this city, and now makes his home at Latonia Springs, Kentucky, four miles from Covington.


The establishment of this firm reminds us that, so early as 1816, according to a correspondent of the Boston Courier, there were "piano-fortes by the dozen in Cincinnati," although he complains that there was nobody to tune them. This must have been an error; for in December of the previous year Mr. Adolph Wapper was advertised in the local journals as a teacher of music, and likewise as a tuner and repairer of pianos. In the directory of 1819 Mr. George Charters is named as a piano-maker. He was also proprietor of the circulating library kept on Fifth, between Main and Sycamore streets.


Not far from this date the first organ was built here by the Rev. Adam Hurdus, a pioneer of 1806, an early merchant on Main street, between Front and Second, and also the first preacher of the gospel according to Swedenborg, west of the Alleghanies. He was minister to the New Jerusalem Society here while carrying on a regular business as organ-builder at No. 127 Sycamore street. It was no uncommon thing in those days, as we have already hinted, to see what would now be considered a singular coupling of vocations. One sign in town read, "Bookseller and Tailor ;" a line in the directory informed the reader that Mr. was "House and sign painter and minister of the gospel." This pioneer organ of Hurdus' is still in use in the village of Lockland, in this county. Another organ-builder, Israel Schooley, a Virginian, settled in 1825 in Cincinnati. The same year the piano-makers noted as here were George Charters, Francis B. Garrish, an immigrant from Baltimore, and Aaron Golden. In 1828 was added the firm of Messrs. Steele & Clark. Two years previously the first general dealer in sheet music and musical instruments, Mr. John Imhoff, opened his store on the west side of Main street, second door below Fourth, "at the sign of the violin," where he kept it for many years. Edward Thomas is the only person mentioned in the directory of 18a5 as a professional musician, and Alexander Emmons in that of 1829. Music, as a sole vocation, did not pay extensively in that decade.


The Eclectic Academy of Music dated from 1834, although it was not incorporated until the next year. Its founders were two notable musicians of that day, Professors T. B. Mason and William T. Colburn. A well-known German pianist, Mr. Louis Lemaire, was afterwards associated with them. A regular society was formed, however, of which Judge Jacob Burnet was president, Moses Lyon vice-president, and Charles R. Folger recording secretary. The object of the institution, as specified in the charter, was "to promote knowledge and correct taste in music, especially such as are adapted to moral and religious purposes." In 1841, according to Mr. Cist's book of that year, the academy had "a good library of music, vocal and orchestral; also attached to it an amateur orchestra of twenty-four instruments." Probably the leader of this band was the only person named at this time among the teachers of the academy as "Instrumental Professor"—Mr. Victor Williams.. He is another of Cincinnati's musical veterans, a Swede by his nativity, and the active projector and originator of the first musical organization in the city on a large scale, the "American Amateur Association." This society of the far-reaching name had its birth here about 1846. It performed for the first time in public any grand oratorio music, among which may be named, in successive renditions, Handel's Messiah, Mozart's Twelfth Mass, Haydn's Creation and Third Mass, and Neukomm's David. Mr. Rattermann says : "I remember well the enthusiasm with which the first public production of the 'Creation' was received. It was performed before a large and fashionable audience in the Melodeon Hall, which was then the chief concert-room here." Afterwards, April 8, 1853, as a complimentary benefit to Professor Williams, Neukomm's David was given by the association in Smith & Nixon's Concert Hall, on the north side of Fourth street, near Vine. The society was aided in this, its final public appearance, by Mons. L. Corradi Colliere, a celebrated French baritone, who died in New York City a number of years ago; Mr. Henry Appy, a German violinist of some note, who resided here for a time; Mr. J. Q. Wetherbe, a basso singer of high accomplishment; Mr. Leopold Lowegren, pianist; and Mr. Henry J. Smith, long and favorably known as one of the local organists. Professor Williams still survives, a veteran of the profession, having practiced it here for nearly half a century, during a part of the time as a teacher of vocal music in the public schools.


With the extinction of the Amateur association in 1853, the second period of the musical history of Cincinnati may be regarded as closed, the first having ended, so to say, with the end of the Apollonian society, twenty-five years before. Mr. Rattermann makes a clear definition of these epochs in the following:


To distinguish these two periods from each other, we must view them in the light of their original intention. The first period had in object only a self-content purpose. Its beginning was of the most primitive nature, and all along its existence it bore only rudimentary signs of being. No public exhibit of its artistic existence was even attempted.