450 - CINCINNATI—THE QUEEN CITY


the pictures for their school books. Perhaps he has never enjoyed quite as thoroughly his great fame as a painter of pictures that are to be seen in public and private galleries as he did his reputation among the children. In 1880 he prepared beautiful and impressive illustrations for Professor Venable's poem "The Teacher's Dream," and this was highly commended. Farny for some time illustrated for the Harper publications.


He spent several years among the Indians, studying their mode of life and appearance, and he from time to time has made additional trips to the homes of Indian tribes. His specialty has been the plains Indians. One of his early paintings, "The Fugitives," sold for forty dollars in this city, and was carried to New York where five times as much was paid for it.


Farny's paintings are to be seen in many of the galleries of Europe and America, private and public. The Kaiser of Germany owns one which he prizes greatly. Farny is married, has a young son, works regularly, and from time to time produces a picture for which he does not need to seek markets. Competitors for his work seek him beyond his power to gratify them by the number of pictures wanted.


L. H. Meakin is in the front rank, one of the best of western landscape painters. He teaches in the Art school and is president of the Western Art Association.


John Rettig paints very excellent pictures of Holland.


Clement Barnhorn is a sculptor of high rank. He teaches at the Art school.


Henry Sharp is a remarkable painter of Indian portraits. Much of his work has been and is being done for Leland Stanford University.


John Tochtmann, deceased, left a reputation that is steadily increasing from year to year. Many critics consider him one of the foremost of modern painters. One of his pictures now in the art museum was purchased by that institution for $300, and it is now easily marketable at $3,000.

George Debereiner paints Holland scenes, especially pictures of Rothenburg, a town that has had no new buildings for five hundred years and is off the lines of travel.


John Hanser is an excellent Indian painter. Dixie Selden, Caroline Lord, and Mary Spencer are among the women artists of talent and growing repute.


W. H. Fry is a first class wood carver. George Meinshausen is a wood engraver, whose work is artistic. L. C. Vogt is a young man of much talent.


E. T. Hurley .is a painter of Cincinnati atmospheric street effects that are much admired.. Paul Jones is a good painter and lithographer.


CINCINNATI ARTIST HONORED.


Honors continue to be heaped upon Miss Elizabeth Nourse, Cincinnati artist, who has made her home in Paris for some years past. Her painting, "The Window Shutter Closed," was in 1910, purchased by the French government, preceding the opening of the salon. The painting was on private exhibition in the Luxembourg Gallery and was viewed by the president 'of the republic. Miss Nourse's father was a prominent Cincinnati banker.


CINCINNATI—THE QUEEN CITY - 451


Other notable Cincinnati artists of the present are Henry E. Tausend, L. C. Vogt, Mrs. Frances Wiley Faig, Ben Faris, William Graef, Charles C.. Svendsen, Carl van Buskirk, S. T. Trounstine, Rudolph Tschudi, Mrs. Irene Bishop Hurley, Mrs. Lavina Grey Perin, and others.


William Lamprecht was a well known historical painter of Cincinnati for a number of years. He executed while here "Fenwick, the Apostle of Ohio," a portrait of the first Catholic bishop of Cincinnati ; "Marquette's Discovering the Mississippi," and "The Crowning of St. Mary's." The last is in St. Mary's church, Cincinnati.


Mr. Lang made a specialty of architectonic painting. Some of his work is in St. Ludwig's church. He afterward went back to Germany.


A miniature painter, Philip Walter, who was also a gifted musitian and conducted the Cincinnati Saengerfest in 1870, lived and worked here for a time. He afterward removed to Baltimore.


Mr. Kemper, of Philadelphia, also had a studio here for a time, as did a young man named Dennis,. a native of Antwerp, Belgium.


Thomas S. Noble. who executed "The Hidden Nemesis," and "Forgiven" was the principal of the School of Design.


Charles Bullitt, sculptor, had for a time a studio here before the Civil war, and engaged in executing portrait busts and medallions. G. Fazzia, an Italian, at the same period engaged in making clay and plaster portraits and statuary.


Moses Ezekiel, one of the world's most famous sculptors, was born in Virginia in 1844. He came to Cincinnati in 1868. In 1869 he went to Berlin and studied at the Royal Art Academy. He was admitted into the Berlin Society of Artists after. he had executed a colossal bust of Washington. He was commissioned in 1874 by the Sons of the Covenant, a Jewish order, to execute a marble group representing Religious Liberty, for the Centennial Exhibition. This work is now in Fairmount Park, Philadelphia. He has produced notable busts of Liszt and Cardinal Hohenloche, Eve, Homer, David, Judith, Christ in the Tomb, Faith in the cemetery at Rome, a Madonna for the church in Tivoli, Apollo and Mercury in Berlin, Robert E. Lee, the Homer group for the University of Virginia, Virginia Mourning Her Dead, at Lexington, Virginia, Napoleon the First at St. Helena, and many other famous works. He visits Cincinnati occasionally, retains his interest in this city where he has relatives, but he resides chiefly in Rome.


The "Auld Lang Syne" of August Mundhunk was exhibited at the Centennial Exposition in Philadelphia and received praise. He and his partner, Konrad Hoffman, introduced zinc-cast statuary in Cincinnati.


Frederick and Henry Schroeder were sculptors in wood. They produced chiefly altars and pulpit

ornaments.


Herman Allard, who had been a pupil of Achterman at Minster, executed the same kind of art work. One of his noted works is "The Death of St. Joseph:" He produced "Germania, the Protectress of Art and Science," and a life-size statue of an Indian in war Costume. He executed a statue of St. Paul which was shown at the exposition in 1873.


Joseph Libbel executed "Always My Luck," '`Asleep," "Caught," and other excellent statuary.


452 - CINCINNATI—THE QUEEN CITY


Louis T. Rebisso taught sculpture at the University School of Design, and modeled the equestrian statue of General McPherson, Washington, D. C.


Charles L. Fettweis, Jr., was born in Cincinnati and studied in Rome. He executed "The Castaway," "The Italian Shepherd Boy," "Germania,"‘ and the bust of General R. L. McCook, in Washington Park.


Francis X. Dengler was the sculptor of "Imelda and Azzo," "Blind," and "Damroschen." Lamprecht declared "Imelda and Azzo" the greatest work of American art. "Damroschen" won a gold medal at the Art Academy of Munich.


Architecture has grown with the growth of Cincinnati. In 1800 this was chiefly a village of log houses. A little later came frame houses. Then brick and stone became common. In 1815, two per cent of the houses were stone and twenty-three per cent were of brick. In 1819 two-ninths of the whole number of houses were of brick and stone. In 1826 three-eighths of all were made of these materials.


The German population was specially fond of brick houses. In the first fifty years architects were dispensed with in the erection of buildings in Cincinnati. More than that, the building plans were not formally drafted. The first builders drafts, when their day did arrive, were made on a board or shingle.


There were no plans or specifications drawn up for the erection of the First. Presbyterian church,. in 1792.


In 1824, Michael Scott, until that time a carpenter, appears in the directory as a .professional architect. In 1825 he drew up plans for the old St. Peter's cathedral, on Sycamore street, where now stands St. Xavier's church.


Scott appears to have had no competitor. He died, and in 1834 Seneca Palmer came from Albany and became the second architect of this city. He was the architect of the first buildings of Lane Theological Seminary. It Was he who designed the Western Baptist Theological Seminary in Covington. It is also asserted that he was the architect of the Lafayette Bank building on Third street. John Jolasse, a German in Palmer's employ, is credited with some of the best plans sent out by Palmer.


It was not always the fault of the architect that the buildings constructed were severely plain. The lack of means among property owners of the day was largely responsible.


The efforts at ornamentation, when these were made, were sometimes a mixture of various styles of architecture. The old Trust 'Company's building is said to have had a colonnade of Doric pillars with Ionic capitals.


"Trollope's Folly," or the Bazaar building, erected in 1829-30, was a combination of Oriental and Western styles. Tourists made sport of it, and citizens of Cincinnati mourned. Hervieu, a Frenchman, who came to Cincinnati with Mrs. Trollope, is said to have been the architect.


Another of the early architects was Francis Ignatz Erd, who designed St. Mary's Catholic church on Thirteenth street.


Henry Walter was the architect of the old Second Presbyterian church on Fourth street, since removed. This was in the Greco-Doric. style. Walter was also the architect of the much admired St. Peter's cathedral, at Ninth and Plum streets.- His were also the plans. for the House of Refuge, a Norman-Gothic structure. This last work passed, at the death of Walter, into the 'hands of his


CINCINNATI—THE QUEEN CITY - 453


partner Joseph W. Thwaites and his son William Walter. The latter became an eminent architect of the city.


Isaiah Rogers, who became one of the best known architects in the west, came to Cincinnati for the planning and construction of the Burnet House. He also designed the Longview Hospital.


As wealth increased and taste developed, many architects were attracted to this city. In 1848, there were among the architects B. L. W. Kelley, Robert A. Love, James 0. Sawyer, George W. Stevenson, James K. Wilson. In 185o, Joseph J. Husband was added to the number. In 1851 John Bast, in 1853 J. R. Hamilton, J. B. Earnshaw, Joseph Gottle, Otto G. Leopold, James McClure, Robert Hailes, William H. Bayless, Hudson B. Curtiss, William Tinsley and Son, E. C. Schultz, Stephen Reddick, were among the number.


In 1855, such architects were here in addition as Charles B. Boyle, Adrian Hagemann, and William S. Rosecrans, afterwards a general in the Union army. In 1858 James W. McLaughlin, Edwin A. Anderson, Carl Victor Bechmann, Samuel Hannaford were engaged in architectural work. In 1859 Anthony and Louis Piket, and George Willmer ; in 1863, Charles P. Dwyer; John Mierenfield and Francis W. Moore were included in the list.


Earnshaw designed the old Norman-Gothic Hughes high school. Hamilton designed the old English-Gothic Woodward high school. Louis Piket was the architect of St. Peter's German Protestant church. Anthony Piket designed St. Xavier's church, German-Gothic and St. Xavier's College, the First Presbyterian church, the Mechanics Institute and Medical College.


James W. McLaughlin designed the Masonic Temple, St. Francis Catholic church and the depot of the Cincinnati, Hamilton and Dayton railway. These are all in the late Byzantine style. A specimen of the same style is the St. Georgius church.


The architect of the Johnston building was McLaughlin. The Cincinnati Hospital was designed by A. C. Nash ; the German Mutual Insurance Company's building was by John Bast.


The old Music hall was designed by Sigmund Kutznitzki. All these and the following are or were in the Italian or Renaissance style ; Robinson's and Pike's Opera Houses, the Grand Hotel, the Gibson House, the Public Library, the Carlisle, Mitchell, Halbert, Simon and Thurnauer blocks.


The first piece of statuary applied to the front of a building in this city was the statue of Cincinnatus on the Baker building.


The synagogues of the Children of Israel and of Benai Jeshurun are in the Moorish style.


Samuel Hannaford designed the City workhouse, the present Music hall, and the Longworth and Bell buildings.


The architect of the University buildings was Samuel Hannaford, and the style is a modified Classic or Italian.


James W. McLaughlin was the architect of the Art Museum ; the style is Romanesque.


Of the government building, A. B. Mullet was the original designer, when he was the United States Supervising architect. He was succeeded by Potter, who modified Mullet's design, the modification being in the form of the roof


454 - CINCINNATI—THE QUEEN CITY


only. Potter was succeeded by Bell, under whose charge it was completed. Samuel Hannaford was the local architect in charge of the work throughout all administrations. The style is a modification of the French Mansard.


The architect of the Sinton Hotel was Frank M. Andrews ; the style is French.


Samuel Hannaford was the architect of the Grand Hotel, and the style is a rather free adaptation of the Italian or Classic.


The Chamber of Commerce, of which the walls still stand in the latter part of 1911, was designed by H. H. Richardson; the style is Romanesque.


The famous residence of the late Alexander McDonald, in Clifton, generally regarded as the finest private house in this region, had for its architect Samuel Hannaford ; the style is an adaptation of the Gothic as seen in Scotland.


The Church of the Covenant was designed by Mr. Walters, of the firm of Walters and Stewart; the style is Gothic.


The original architect of the Catholic cathedral in Covington, considered one of the most impressive buildings in the west, was Mr. Coquard, of Detroit. The front of the cathedral and towers were added by Mr. David Davis, of Cincinnati. The style is French Gothic.


The details of modern architecture are mainly based upon details of styles that have gone before. The modern building, with its varied requirements to suit the present day needs, is, as a rule, planned on entirely different lines and for different purposes than the old structures which furnished our best examples of style, and it is only in details of mouldings, cornices, columns, treatment of openings and architectural features of that kind, that it can be truly said that they are in this or that style.


There have been periods of change in the style of architecture in Cincinnati from time to time. In the pioneer days there were no particular styles adopted, as the buildings were, as a rule, rather simple. The best dwelling houses that followed that time were modeled upon the old Colonial houses of the east, and the public buildings, banks, etc.. were mainly rather rude copies of Greek and Roman architecture.


Following this tithe, and along in the 6os, there was a series of books published by an architect named Sloan, who gave many examples of French and Italian villas, and in these books he presented a great number of sketches of dwelling houses designed in these styles. This particular publication seemed to have a very wide-reaching influence, and during the late 60s and early 70s a great many houses were built in imitation of these designs. A great many of these buildings are still in existence. Many of them have Mansard roofs, the. outcome of the French influence, and a great many of them have low-pitched roofs and wide eaves, which were designed under the influence of the Italian examples.


The architect and builder of that day, however,• introduced in conjunction with these characteristic designs a great deal of detail of their own, much of which was poor. Their ornamentation consisted mainly of meaningless jigsawed work plastered on top of the French or Italian forms.


Later, the so-called "Queen Anne" style was very prevalent, this being very largely influenced by English models.


CINCINNATI—THE QUEEN CITY - 455


Following this, H. H. Richardson, who was the designer of the Chamber of Commerce, introduced into this country the Romanesque style, modeled upon the fortresslike chateaux of France. He was a great artist in this particular style. He built many important buildings in the east, and for a time this influence carried everything before it, and churches, public buildings, residences, etc., were modeled upon this style.


This has, however, at the present time given way to a rather more precise and academic style of the French school. The French architects have always been magnificent designers, using the old Roman and Greek motifs.. This style has been taught in their schools, and a great many American architects have been trained in France, and the architecture of the most important structures that are being built today is modeled upon this peculiar style. It might be called a free classic. It is not handled in accordance with very strict rules, but the details are all modeled upon Roman or Greek lines, grouped and combined with a freedom which makes it almost a style of its own.


There seems to be a tendency in Cincinnati at the present time among some of our best designers to get away from the rather formal classical styles that have been in use, and they are looking toward the more free styles that were developed in the brick architecture of southern Italy and in Spain. These, however, have all been handled without much regard for precedent.


The architecture of Cincinnati does not, of course, differ essentially from that of other cities. As a rule architects travel considerably, they visit other cities, they have the advantage of a great number of photographs and plates of different kinds that are published in the engineering and architectural journals, and it cannot be said that any one part of the country has a distinctive or individual style of architecture.


Cincinnati has now a number of the best architects and architectural firms in the country, and under the guidance of these the city will grow more and more beautiful in that direction.


THE ART MUSEUM.


January 18, 1877, the Women's Centennial Executive committee. of Cincinnati met and adopted the following resolutions : "Resolved that it is the wish of this committee that they reorganize 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." On January 27, another meeting was held and Mrs. Perry presented her paper. outlining a plan for the founding of a ladies association, which should aim at the establishment of an art museum.


On March 12th, a meeting of ladies and gentleman was held at the home of Mrs. A. S. Winslow, the outcome of which was the appointment of a committee on organization. The gentlemen on the committee were A. T. Goshorn, Joseph Longworth, L. B. Harrison, A. D. Bullock, A. S. Winslow, Julius Dexter, George W. Nichols, W. H. Davis, 0. J. Wilson. These gentlemen were invited to act as a committee to draw up a form of subscription, and to take such steps as, in their judgment, would best promote the establishment of an art


456 - CINCINNATI—THE QUEEN CITY


Museum, until such time as the subscribers to a fund for this object should effect a permanent organization.


A meeting of ladies was held April 28, 1877, to complete the organization. Its object was announced to be to interest the women of Cincinnati in the establishment of an art museum in the city. It was resolved to give it the form of an association whose membership should reach every neighborhood,, circle and interest of the city and suburbs. A constitution was adopted and officers were elected. The aim of the association was declared in the constitution 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, elected 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.


This organization at once gave a new impulse to interest in art in Cincinnati. A loan exhibition was held in 1879. The members of the association prepared numerous art works and these were placed in the yearly expositions in the city.


At the opening of an industrial exposition, September 8, 188o, Charles W. West, a retired merchant of the city; offered by letter one hundred and fifty thousand dollars for the founding of an art museum, provided a similar amount should be subscribed. It was only a few weeks until more than the required sum had been subscribed.


The following is the correspondence on this subject between M. E. Ingalls and Mr. West. Also the list of those to whom this city is forever indebted for this magnificent institution.


After due consideration, Eden Park was chosen as the site for the museum, and the necessary arrangements were made with the city authorities.


After council had passed its ordinance February 3, 1882, granting permission for "the erection of a museum and such other buildings as may be incidentally connected therewith" in Eden Park, the museum committee opened its quarters for the time in Music hall. Valuable gifts were accepted by the trustees of art treasures from Mr. Longworth, the Women's Art Museum, George Hoadly, Mrs. Eliza Longworth Flagg, Mrs. S. N. Pike and the Ninth Cincinnati Industrial Exposition.


February 10, 1882, another letter was received from Mr. West offering the museum authorities another sum of one hundred and fifty thousand dollars for its endowment. It was required that this sum be held perpetually without impairment. The offer was at once gladly accepted.


May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. A vast assemblage was present. The collections, in part owned by the association and in part consisting of loans, were put in place.


The Art Museum building cost three hundred and thirty thousand dollars. Almost twenty acres of land were set apart by the city for the purposes of the museum.


The museum has a ground surface of seventeen thousand, .two hundred and twenty-seven square feet. Its floor surface consists of thirty-six thousand, two


CINCINNATI—THE QUEEN CITY - 457




hundred and sixty-six square feet. Its wall space is twenty-six thousand, eight hundred and twenty feet.


The permanent collections of painting and sculpture are extensive and very valuable. The sculptures consist of original marbles and bronzes and casts from Renaissance, Roman, Greek and modern originals. The textiles include Japanese embroideries, brocades, cashmere shawls, lace, tapestries, etc. The Bookwalter collection consists of a loan of art objects collected by Mr. John W. Bookwalter in the east. Metal work includes original Japanese and Chinese bronzes, and five hundred electroplated reproductions of originals in the museums of Europe. There is an extensive collection of armor. The Graphic Arts include paintings, engravings, photographs and plaster casts of ivory carvings. There is an extensive collection of Ceramics. The Ethnology department is excellent. American archaeology is specially good. There are extensive miscellaneous collections in addition.


The Art Academy of Cincinnati is a separate institution from the museum but under the same management.


HISTORICAL SKETCH.


In accordance with a bequest to the city of Cincinnati by Charles McMicken, who died in 1858, the McMicken School of Design was opened on the 4th of January, 1869. Under the same bequest was established in 1871 the McMicken University of Cincinnati, and of it the school of design became a part.


The school of design received further support from Joseph Longworth during his life, but remained a part of the university until in 1884 it was transferred to the Cincinnati Museum Association, into whose hands Nicholas Longworth, in pursuance of the unfufilled intention of his father, Joseph Longworth, placed an endowment fund of $371,631 for the support of what then became the art school of Cincinnati.


Reuben R. Springer and David Sinton sought to provide an adequate building near the museum in Eden Park. Mr. Springer died before this was accomplished, bequeathing $20,000 to the school. Mr. Sinton then gave $75,944 towards the construction of a building. To. this was added $14,081 from the Springer endowment. At the dedication of this building, on the 17th of No-, vember, 1887, the school was named the Art Academy of Cincinnati, and continues as a department under the management of the Cincinnati Museum Association, which holds for use in this direction :


ENDOWMENT FUNDING


Longworth Endowment

Springer Endowment

Louise Ingalls Memorial Fund

And a building that cost

$371,631.00

11,371.40

10,000.00

97,175.58

A total of

$490,175.98




of which the academy has the usufruct. Being thus but partially dependent upon tuition fees for support the trustees are enabled to fix these fees at an excep-


458 - CINCINNATI—THE QUEEN CITY


tionally low rate, so that the students now receive for twenty-five dollars what must otherwise cost at least one hundred dollars. The Louise Ingalls Memorial Fund gives financial aid to deserving students. This fund was created in 1899 by Mr. and Mrs. Ingalls in memory of their daughter.


The building is rectangular, 82 by 140 feet, with over 38,000 square feet of floor space, divided among three stories. It contains large and small class rooms and studios, a lecture room with two hundred seats, and a dining-room and kitchen.


Its location upon a hill-top in Eden Park, 35o feet above the river level, is favorable for light, air, and for out of door work ,in season.


The equipment consists of an adequate number of casts, still-life, and furniture, so that the students need buy, only the actual materials for drawing and painting, and of these a supply is kept in the building at the lowest obtainable prices.


To be mentioned as a part of the equipment is the employment of from ten to eleven life models daily for students drawing and painting the head or the figure.


The teachers of the life classes together with those of the modeling and carving classes constitute a faculty. Under the rules governing these classes each member of the faculty has complete and independent control of the admission of students to his class, and of their work afterwards. The aim of this arrangement is to approach as nearly as possible to the relation between the student and his chosen master in the private studio.


ROOKWOOD POTTERY.


The pottery was founded in 1880 by Mrs. Maria Longworth Storer, who named it Rookwood, after her father's country estate near the city. In 1883 Mr. W. W. Taylor assumed the active direction of the works as the partner of Mrs. Storer. Upon her retirement in 1890 she transferred her interest to Mr. Taylor, who formed the present company, and tinder his direction as president the present buildings were erected in 1891 and extended in 1899. They crown the summit of Mt. Adams, one of the city hills, and while remarkably picturesque in themselves, they command in every direction beautiful views of the river, the city and its suburbs.


The pottery is managed on lines opposite to the prevailing factory system, as the effort is to attain, a higher art rather than cheaper processes. Absolutely no printing patterns are used nor any duplicates made. A spirit of freedom and liberality has prevailed in order to cultivate in every way individual artistic feeling among the workers employed.


The decorators comprise both men and women, and are drawn mainly from the Art Academy of Cincinnati. The decorations are entirely on the moist clay before any firing, the colors being mixed with clay and becoming part of the ware itself. The pieces, after decoration, are fired into biscuit and the various glazes are applied in subsequent firings. These methods, while necessary to produce the beautiful underglaze effects of Rookwood are rarely used elsewhere as they increase so largely the risks and expense of manufacture.


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The clays in use for all purposes are entirely American and largely from the Ohio valley. These native clays from the start inclined the color quality toward yellows, browns and reds, and the decorative medium lent itself to a rather luxuriant style of ornament in rich arrangements of warm color, all of which the transparent glazes merge in deep, mellow tones. As the command of material has strengthened, the beauty of the ware has steadily gained in a harmony of all the elements which compose it, until form, color, decoration and glaze combine to produce those things of beauty which elude all attempts to imitate and make Rookwood a complete novelty in the world's ceramics. The production, however, is not limited to a warm yellow, or red tone, for even dark pieces are often relieved with deep, rich greens and blues, and there has latterly de- veloped a large and important series in light arrangements in what are known as "iris" and "sea green." In each of these we find the same mellow tone, the same soft brilliancy as in the older ware.


Still another variety are the mat glazes first made at Rookwood in 1896, and now among the most admired of its productions. In these the special quality is beauty of texture,' though the range and variation of color is very great. To many pieces decoration is applied of flowers or other subjects broadly painted ; of motives derived from American Indian designs and -of other conventional ornaments in relief or incised.


The latest variation of the mat glaze type is the "vellum" ware, first shown at St. Louis in 1904 and pronounced by expert judges the only ceramic novelty of the exposition. Its name indicates the peculiar charm of the glaze texture and it presents for the first time the extraordinary achievement of a transparent mat glaze developed in the fire and not by acid or other after-treatment.


Rare specimens are also exhibited of the famous "Tiger Eye," first made at Rookwood in 1884. This is the earliest of the class of crystalline glazes since so extensively developed at Sevres, Copenhagen and Berlin, though none have attained this special effect.


MUSIC.


The first organized band here was that at the fort, under General Wilkinson, commandant at Fort Washington, :succeeding General Anthony Wayne.


Klauprecht, in his German chronicle in the History of the Olio Valley, after speaking of Wilkinson's splendid barge and the pleasure parties entertained on it, states that German and French musicians "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 Lucullan feasts of the European aristocracy." When Wilkinson departed for New Orleans, the band also vanished.


In 1789, a Scotchman, Thomas Kennedy, was here, but soon moved to the Kentucky side. He was a skillful violinist. Another Scotchman, John Melish was here in September, 1811, and visited Kennedy. Melish records : "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 men was delighted, and favored us with a great many Scottish. airs.


460 - CINCINNATI—THE QUEEN CITY


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."


There was in the earliest years of Cincinnati a man named McLean here who was a singing master. Apparently teaching, singing was not sufficiently remunerative for him to depend upon it alone for a living, for he combined with music the trade of butchering and also held a public office. McLean advertised in a newspaper September, 1801, a subscription singing school at one dollar per member for :thirteen nights or two dollars a quarter. Subscribers were notified that they must find their own wood and candles.


The Western Spy, December 17, 1800, contained, this notice : "These gentlemen and ladies who feel themselves disposed to organize a singing school will please to convene at the courthouse tomorrow evening at candlelight, as it is proposed to have singing. Those who have books will please bring them."


October 11, 1814, this announcement appeared in Liberty. Mil: "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 by-laws 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. Burts 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." This society was accustomed to hold a yearly 'concert and ball. That of December 16, 1814, was held at the large brick house on Front street, lately occupied by General Harrison."


Among the selections given by this organization July 4, 1819, were the following: Hail Columbia, Life Let. Us Cherish, Will Ybu Come to the Bower, The White Cockade, Victory of Orleans, Italian Waltz, Echo, Monroe's March, America, Commerce and Freedom, Liberty or Death, Masonic Dead March, Liberty's March, March in Blue Beard, Lafayette's March, Star Spangled Banner, Haydn's Fancy, Harmonical Society's March.


April 8, 1815, there appeared in Liberty Hall the announcement of a proposed "new and valuable collection of music, entitled 'The Western Harmonist,' by John McCormick:" The advertisement states : "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."


December 18, 1815, the following advertisement appeared in a Cincinnati paper : "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 humane, trombone, fife, German flute, flagotter bassoon, serpent, flageolet, sacbut, hurdygurdy or beggar's lyre, violin, violin-cello, bass drum, octave flute, cymbals, etc. Military bands taught accurately


CINCINNATI—THE QUEEN CITY - 461


and expeditiously, on a correct scale, on any of the above instruments, with appropriate music by James H. Hoffman, P."


In 1816, Timothy Flint published at the Liberty Hall establishment a music book, called "The Columbian Harmonist." The presumption is that he must have been encouraged by the musical conditions here to believe there would be demand for the book.


Klauprecht states that in 1816 there existed here a musical organization called the St. Cecelia Society.


Previous to 1816 a band of amateurs was accustomed to hold its meetings at the home of Frederick Amelung, on Sycamore street. Amelung was himself a musician. Members of this society are believed to have been Martin Baum, Monsieur Menessier, a pastry cook who had been a jurist and member of parliament in Paris ; Albert Von Stein, builder of Cincinnati's first waterworks ; Dr. Carl G. Ritter, confectioner ; Augustus Zemmer, confectioner ; Philibert Ratel, a teacher of music and dancing; George Charters, piano maker; Edward H. Stall, druggist. This society is supposed to have been called the Apollonian.


In 1819 the Episcopal Singing Society was founded, Luman Watson, clock-maker, being president ; F. A. Blake, vice president ; E. B. Cooke, secretary and J. M. Mason, treasurer. Arthur St. Clair, junior, made the offer of a lot and Jacob Baymiller stood ready to present a building for the housing of this organization, but the singing school for some reason does not appear to have taken advantage of these proffers, for it held its sessions in Christ Episcopal church, a Baptist church leased by the Episcopalians.


In 1819 the Haydn Society was organized in Cincinnati. It was made up of several church choirs and musical societies. May 25, 1819, the Haydn Society gave a concert in the church just spoken of. The purpose was to raise a fund to buy an organ for that church. The Spy contained this notice: "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." After the performance, the Sky stated that it had given general satisfaction and said : "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 have begun 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 cause 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."


In the autumn of 1819, the Haydn Society gave a second concert, the tickets being one dollar each. s. One-half of the proceeds were to be appropriated to the several Sunday schools of the city, and the other half was to be applied for the purchase of music to remain the permanent property of the Cincinnati Haydn Society. A,


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The committee in charge of this concert was composed of Edwin Mathews and Charles Fox. Mr. Fox and Benjamin Ely advertised a singing school that was to begin its sessions December 17th at the Second Presbyterian church.


May 29, 1819, "the Caledonian youths from Glasgow" gave, at the Cincinnati Hotel, a concert on the Scotch harp.


July 18, 1821, Charles Fox directed a concert of sacred music, three singing organizations being united for the purpose. At this concert, "Comfort Ye My People" and Handel's Hallelujah Chorus from the Messiah were rendered for the first time in this city.


Miss Martineau, who visited Cincinnati in 1835, erred in stating that the first concert ever given here was during her -visit at that time. She states : "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 interesting in the spectacle of the first public introduction of music into this rising city. One of the best performers was an elderly ma,n, 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 beginning. 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 the 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."


In 1825 there was a musical society called the Apollonian. Of it the directory says : "It is now in a flourishing condition, 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."


It is supposed that the leader of this society Was William Tellow, who in 1817 arrived from Germany ; later he made a home at-Dayton and afterward traveled with his family as concert musicians.


In 1825, the Apollonians were accustomed to meet in the saloon of George Juppenlatz, a baker if 26 Main street. Later they assembled at the Apollonian garden in the Deer Creek valley. This was kept by Kothe & Ott, and afterward


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by Ruter & Ott. This place was a forerunner of the German beer gardens of this city.


Klauprecht says in regard to this garden : "On festival occasions there was no want of a German orchestra at this resort of pleasure to play to the dancing of its visitors." The clarionet player was Sebastian Rentz, while Henry Schmidt played the violin, and Jacob Schnetz, brother of the gardener of Mr. Longworth, played the piccolo."


Philibert Ratel, spoken of above as a teacher of music and dancing, came hither from Philadelphia in 1787. He gave lessons on the clarionet, flute, bassoon, flageolet, violin and piano. He also gave instruction in country dances, cotillons, allemandes, waltzes, hornpipes, the minuet 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. He was an expert player of the clarionet and French flageolet. At a concert given by Mr. Garner, at Mack's Cincinnati Hotel, March 16, 1820, Ratel played clarionet and flageolet and was leader of the orchestra. Ratel advertised that he could "in four or six months give his scholars a competent knowledge of music and its various tunes to perform alone or in harmony correctly." Garner was an actor and singer from the east, who produced at the theater here two light English operas, "The Devil's Bridge" and "Lionel and Clarissa."


When the great reception was given to Lafayette in 1825, there was no vocal music so far as tradition or records indicate. The parade, however, was accompanied by .a band. Musicians had been brought from the east for the ball. Joseph Tosso was the leader. Tosso was a native of Mexico and was trained in music in France and Italy. He visited America as a violinist. He came to Cincinnati, tradition states, to lead the orchestra during the visit of Lafayette, and remained to teach and practice music. In 1829 he was teaching music in the Cincinnati Female Academy on Walnut street. In 1835 he was the leader of the orchestra in the Musical Fund Society, which had been founded April 29th of that year. This society was organized for "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."


The Musical Fund Society was strong socially and financially. The New York Family Minstrel, July 15, 1835 said of it : "We hear very favorable accounts of this institution, which is said to be fostered both by wealth and influence. Its officers are: President, Morgan Neville ; vice presidents, John P. Foote, Peyton S.. Symmes ; treasurer, Samuel E. Foote ; secretary, Linden Ryder ; librarian, John Winter." In the list of managers are such names as Nicholas Longworth, W. G. W. Gano, and Bellamy Storer. The first organization, however, did not last long, but in 184o it was revived on a much smaller scale, it then consisting of an amateur orchestra with Tosso as leader. Cist in 1841 stated, "it promises much for the culture of musical taste and science in our city."


In 1839, Tosso and Douglass had store on Fourth street where they were engaged as musical instrument makers and importers of musical instruments. According to the Boston Courier there were in 1816 "piano fortes by the dozen


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in Cincinnati." In December, 1815, Adolph Wapper adyertised himself as a teacher of music and tuner and repairer of pianos. In 1819 the directory mentioned George Charters as a piano maker.


About 1819 the first organ was built in this city. The Rev. Adam Hurgus was the maker. He had come to this city in 1806 and combined the functions of merchant and preacher. He was the first Swedenborgian minister west of the Alleghanies. He carried on the business of organ building on Sycamore street while mininstering to the New Jerusalem church. Another maker of organs in this place was Israel Schooley who came from Virginia in 1825.


In 1825 there were three piano makers in Cincinnati, George Charters, Francis B. Garrish and Aaron Golden. In 1828 there was also here the firm of Steele and Clark.


In 1826, John Imhoff opened a store on Main street and became the first general dealer in sheet music and musical instruments.


In 1825, Edward Thomas was the only person mentioned as a professional musician. In 1829, Alexander Emmons was the only one.


In 1834, the Eclectic Academy of Music was organized. In 1835 it was incorporated. Professors T. B. Mason and William T. Colburn were its founders. Later, Louis Lemaire, a German pianist, associated himself with them. When the society was fully established, its president was Jacob Burnet, vice president Moses Lyon, recording secretary Charles R. Folger. The charter set forth the purpose of the society as being "to promote knowledge and correct taste in music, especially such as are adapted to moral and religious purposes." This academy had in 1841 a good library of music, vocal and orchestral. There was also attached to it an amateur orchestra of twenty four instruments.


Victor Williams was the leader of this band and was indicated an "Instrumental Professor." He was a Swede and was the originator of the "American Amateur Association," the first large musical organization of the city. Its inception was in 1846. This association gave .Cincinnati its first public renderings of grand oratorio music, such as Handel's Messiah, Mozart's Twelfth Mass, Haydn's Creation and Third Mass.


Of one of these renderings, Mr. Rattermann wrote : "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."

April 8, 1853, the association gave a benefit for Williams. It rendered Neukomm's "David" in Smith and Nixon's Concert Hall, on Fourth street. This was the last public appearance of this society.


The year 1828, when the Apollonian Society went out of existence, is considered the end of the first period of the musical history of Cincinnati. 1853, with the termination of the American Amateur Association is declared to have been the end of the second period.


Rattermann wrote : "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-contented 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. The music rendered


CINCINNATI—THE QUEEN CITY - 465




was of the most modest kind possible, performed only for self-amusement. The actors of this period played behind a closed scene. But presently we see the desire visible that the curtain rise, and the efforts of the actors be communicated to others, to participate in its enjoyment.


The leading spirit in this movement must be ascribed to the German element. "To the Americans belongs the credit," says Klauprecht, "of being the first pioneers of music in Cincinnati; but the Germans may boast of having brought about its higher development."


"In Cincinnati the Germans practiced music already in the early years of the city's existence. At first, when the number was small, they confined their chorus-singing to the church, and when the divine service was over on Sundays they would flock into the country, and there, seated or lying on the grass, beneath the green crown of a shady tree, they would sing the songs of their native land in swelling chorus. And in the evening often would the guitar or the zither, the flute or the violin, send the melodious strains of a German ballad from the lone window of his small cottage, or even the garret of the tenement house: 'In einem kuehlen grunde;' or `Ich weiss nicht was soll es bedeuten.' "


In 1838, the first German singing society of Cincinnati was formed. This was also the first chorus of male voices. It was the first chorus singing of four-part songs here. These young Germans met every Thursday evening "over the Rhine," at the inn of the Rising Sun. Rattermann says : "That the songs of this pioneer of our German singing societies were as yet of a primitive character we may safely infer from the fact that all beginnings are necessarily small. The singers seated themselves around a table, and alongside the music book of each stood the quart of beer, for the expenses of the illumination of the hall, which consisted of two large lard-oil lamps, had to be covered by the profit realized from the sale of beer to the members. Thus the drinking May have played a greater role in this first German singing society than the singing."


Somewhat later, the choirs of several German churches organized a singing society. These were from the German Protestant church and the German Catholic church of the Holy Trinity. They met on Clay street, at the home of a watchmaker, Fritz Tappe.


In 1841 a number of German musicians got together, and in June; 1843, they organized under the name of the German Liedertafel. This society existed for fourteen years, and in 1857 became a part of the Maennerchor.


In 1846 the Gesang-und Bildungs-verein deutscher Arbeiter began its existence, the first German organization in this city iv' female voices in the choir. It disbanded in 1852.


In 1848, the Eintracht, a society of Germans, was founded, but it lasted only one year.


An organization of Swiss musicians in the city was effected about 1848. This was known as a Schweizer-verein. The first leader was Emanuel Hinnen, In 1850 this society merged info the Nordische Saengerbund. After a career of popularity, the Saengerbund became a part of the Maennerchor.



The Maennerchor of Cincinnati was, organized June 27, 1857. It united in itself the Liedertafel, the Saengerbund and the Germanic Societies. In 1859.


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a literary society, Lese und Bildungs-verein, joined with it, bringing with it a library and certain funds.


In 1860, the Maennercher produced an opera, "Czar und Zimmerman," the prima donna being the only female voice in the chorus. Afterward, lady members were admitted. This organization produced many operas.


When the Orpheus Society was formed April, 1868, it took away many members from the Maennerchor, and the 'latter became simply a choral society.


In 1849 the musical section of the Turn-verein was formed.


Ratterrnann wrote : "The existence of these societies brought life into the musical silence of our city. Each one of them gave a regular 'series of concerts annually, generally followed by a ball. Those of the Liedertafel, and afterwards of the Saengerbund, were considered the bon ton entertainments of our German citizens of those years.


"The narrow compass to which these societies, according to their nature and tendency, were limited, soon called for an extension of the boundary. This could not be accomplished in one association, as that Would soon become unwieldy for the general purpose. The Liedertafel, as societies for the object of cultivating the male voice chorus, without instrumental accompaniment, are called, and of which the first was founded in Berlin under Zelter in 1809, are, on account of their original intention, not adapted for massive choruses. Wherever they are found, they seldom number as many as a hundred singers, generally averaging about twenty-five members. If then, a more powerful, a massive chorus is desired, it becomes necessary to bring several of these Liedertafel together, and by their united efforts the massive chorus is obtained. For that purpose festivals, to be given at stipulated intervals in the larger cities of a country, are devised. The earlier of these festivals had their origin in Germany. The first festival of the kind was held in. the city of Wuerzburgh, in Bavaria, August 4th to 6th, inclusive, 1845.


"The first attempts to introduce them in America were in comparison with these festivals in Germany, very' diminutive in size. Already in 1846 endeavors were made in Philadelphia and Baltimore to organize friendly relations between the German singing societies of these cities. They, however, were restricted to mutual visits paid each other, connected with a social festivity, in which the public of these cities participated. No formal organization was attached to these visits, and therefore they cannot be classified as Saengerfests. Festivals of this character were likewise held in Cincinnati in the summers of 1846, 1847 and 1848.


A formal organization was first effected in 1849, by a union between the singing societies of Cincinnati,. Louisville, and Madison, Indiana. These societies held the first German Saengerfest in America in the city of Cincinnati, June 1st-3d, inclusive, 1849, and at this festival, on June 2d, the German Saengerbund of North America was founded.


"This was the first effort of its kind in America, and the city of Cincinnati can boast, not, only of being the author of them, but also of the fact that these festival's were originated here in America. With that indeed diminutive Saengerfest there was ..inaugurated a new era in the musical history, not only of Cincinnati but of America ; for then the foundation was laid to the great musical


CINCINNATI—THE QUEEN CITY - 467


festivals which have given to our city the titles of 'The Paris of America,' and `The City of Festivals.'”


The Saengerfest spoken of was composed of five German singing organizations of Cincinnati, Louisville, and Madison, Indiana, and delegations from the Maennerchors of St. Louis and Columbus and the Deutscher Liederkranz of Milwaukee. In the concerts of the Saengerfest one hundred and eighteen singers took part. Several thousands of people attended the open air concert at Bald Hill, near Columbia.


The Daily Gazette gave many details of this first Saengerfest, stating among other things "Viewed in the light of the events of the last few years, the first German festival held here in 1849 looks very modest, and yet at the time it meant much to the Germans. Only one concert was given; it was on June 1st, and of all the city's populace only four hundred bought tickets at fifty cents each and attended. The result was a deficit which, by a subsequent concert arranged to cover it, was swelled to one hundred and seventy-one dollars, and the singers were assessed to pay this. The chorus numbered one hundred and eighteen, there being twenty-eight first tenors, thirty-two second tenors, twenty-nine first basses, and twenty-nine second basses. The societies participating were the Louisville Liederkranz (fifteen singers), Madison Gesangverein (nine singers), Cincinnati Liedertafel (thirty-two singers), Cincinnati Gesung and Bildungsverein ;thirty-three singers), Cincinnati Schweizerverein (fourteen singers), eight delegates from the Louisville Orpheus, and seven singers from Cincinnati who did not belong to any society. The concerts were given in Armory hall, on Court street, at present used as Geyer's assembly rooms. The music consisted of part songs by Zoellner, Mozart, Kreutzer, Frech, Broch, Reichardt, Abt, Silcher, and Baumann.


"The second festival was held in 185o in Louisville. The Cincinnati societies participated and carried off both of the prizes offered.


"In 1851, when the third festival was given, in Cincinnati, the bund had grown to include fourteen societies, by additions from Columbus, Hamilton, Cleveland, St. Louis, Newport, Kentucky, Lafayette, Indiana, and Detroit, and the chorus, which was conducted by Mr. William Klausmeyer, 'numbered qv̊ hundred and forty-seven voices. Instrumental numbers by the military band from the United States garrison at Newport were given a place in the programme.


"Sixteen years later, and in the same city that saw this small beginning, a festival was celebrated which had nearly two thousand singers in its chorus, and the concerts were given in a building specially erected for the purpose. This was in 1867, and from this went out one of the impulses that called the May festivals into life."


The first of the Saengerbunds was held in 1849. There followed those of 1851, 1853, 1856 and 1867, and so on. That of 1879 was held in Music hall.


H. E. Krehpiel, in the Gazette, wrote : "While Cincinnati had received some national reputation through the success of these Saengerfests, its international fame as the leading musical center of the west came later with the organization of the May festivals. The generous support given by the surrounding country to the German concerts and the industrial expositions led some leading

citizens to speculate upon a plan that would draw the multitude but with it


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give the city a name that would redound to its credit in an artistic way. Hardly dreaming of the immense impetus to the study of music they were to give the whole middle west or the beneficent effect this movement was to have upon the city itself, these gentlemen met on the 27th of September, 1872, in the office of Storer, Goodman and Storer for temporary organization.


"At this meeting an executive committee was appointed, consisting of George Ward Nichols, president ; Carl A. G. Adae, vice president ; John Shillito, treasurer ; and Bellamy Storer, Jr., secretary ; besides John Church, Jr., George W. Jones and Daniel B. Pierson. Plans were discussed, the question agitated, and three days later a large finance committee, with Hon. George H. Pendleton, as chairman, and George W. Jones as secretary, was appointed and authorized to raise a guarantee fund of $50,000, the understanding being that no further steps should be taken until $30,000 had been subscribed.


"A little more than one month was required for this work, and on the 12th of November, a circular was issued announcing that a musical festival would be held in Cincinnati in May, 1873, for the purpose of elevating the standard of choral and instrumental music, and to bring about harmony of action between the musical societies of the country and especially of the west. Telegrams and letters were also sent broadcast, an official agent was employed to visit the various singing societies of the west and northwest to secure their cooperation and to arouse the public mind to an interest in the affair. The response was very general ; and when the chorus was organized it was found to contain no less than thirty-six societies, aggregating one thousand and eighty-three singers, of whom six hundred and forty were Cincinnatians. Twenty-nine societies participated in the first mass rehearsal, which was conducted by Professor Carl Barus who had been appointed assistant director, but who had been superseded by Otto Singer (who has since held the position) in March, 1873. The instrumental forces were an orchestra, numbering one hundred and eight pieces, and a chorus organ of one manual, fourteen stops, and six hundred and sixty-five pipes, built for the purpose by Messrs. Koehnken and Grimm of this city.


"The festival was held on the 6th, 7th, 8th and 9th of May. The original plan, borrowing the idea from the Saengerfests, purposed to devote the last day to an open air concert and picnic ; but rain spoiled the scheme, and an afternoon concert in the hall was substituted. Thus Providence came in to take from the festival this vestige of the German custom which had done much to degenerate the Saengerfests from festivals of song to bacchanalian carouses. The soloists were Mrs. E. R. Dexter of Cincinnati ; Mrs. H. M. Smith, of Boston ; Miss Annie Louise Cary ; Nelson Varley, of London ; M. W. Whitney and J. F. Rudolphsen ; and Arthur Mees, organist. The principal compositions performed were Handel's Dettingen Te Deum, Beethoven's `C Minor Symphony,' scenes from Gluck's `Orpheus,'. Schumann's 'Symphony in C,' and his chorus, 'Gypsy Life,' Beethoven's 'Choral Symphony,' Mendelssohn's 'The First Walpurgis Night,' and Liszt's symphonic poem `Tasso.'


"At the close of the last evening concert, a request was read, signed by a large number of prominent' citizens, for another festival. The managers determined to act on the suggestion and a second festival was announced for May,


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1875. Owing to the inexperience of the managers the expenses were very large, but so generous was the patronage that the deficit amounted only to $350, which the executive committee paid from their privy purses."


"The second festival was given in May, 1875, the Biennial Musical Festival Association having meanwhile been incorporated for the purpose. As before, Mr. Thomas was director, and Mr. Singer his assistant. The soloists were Mrs. H. H. Smith, Miss Abbie Whinnery, Miss Cary, Miss Cranch, Mr. William J. Winch, Mrs. H. Alexander Bischoff, Mr. Whitney, Mr. Franz Remmertz ; Mr. Dudley Buck, organist. The chorus numbered six hundred and fifty, and the orchestra one hundred and seven. The principal works performed were the Triumphal hymn, by Johannes Brahms, Beethoven's A Major Symphony, Scenes from Wagner's. Lohengrin, Mendelssohn's Elijah, Bach's Magnificat, the Choral Symphony, Schubert's Symphony in C, and Liszt's Prometheus. The festival was a complete financial success, and though its expenses exceeded forty thousand dollars, there was a balance of one thousand, five hundred dollars in the treasury when the accounts were closed.


"The future of the festivals now seemed assured, and the movement inaugurated by Mr. Reuben Springer, which gave to the city the Music Hall and the great organ, created an enthusiasm here which, supplemented by the curiosity abroad to see the new structure and hear the new instrument, made the third festival, given in 1878, an unprecedented success. It was given on the fourteenth, fifteenth, sixteenth and seventeenth of May, and on the first evening the dedicatory ceremonies of the new hall took place. The soloists were Mme. Eugene Pappenheim, Mrs. E. Aline Osgood, Miss Cary, Miss Cranch, Mr. Charles Adams, Mr. Christian Fritsch, Mr. Whitney, Mr. Remmertz, Signor Tagliapietra, and Mr. George E. Whiting, organist. The chorus numbered seven hundred, and embraced, besides the local societies, the Dayton Philharmonic Society, the Hamilton Choral Society, and the Urbana Choral Society. The principal numbers in the scheme were scenes from Alceste, by Gluck, the Festival Ode, composed by Otto Singer, Beethoven's Eroica Symphony, Handel's Messiah, selections (finale of Act III) from Wagner's Goetterdaemmerung, the Choral Symphony, Liszt's Missa Solennis, and Berlioz' Romeo and Juliet Symphony. The orchestra numbered one hundred and six men, all from New York city. The financial success was enormous, the receipts running up to eighty thousand dollars, and thirty-two thousand dollars being left in the treasury after settlement."


Theodore Thomas holds the rightful honor of having made possible the permanent success of these festivals.


During the third week in May, 188o, the fourth festival was held. The receipts were fifty-five thousand and eighty-five dollars. The balance in the treasury was nine thousand and seventy-three dollars. At this festival a prize of one thousand dollars was offered by the board of directors for the best musical composition by a native American which was to be performed at this festival. Twenty-five works were entered at the competition. Theodore Thomas was chairman of the judges. The prize was awarded Mr. Dudley Buck, of Boston, for a composition entitled "Scenes from Longfellow's Golden Legend."


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The program books of these festivals show that every great choral orchestral work has been heard one or more times at these concerts, while many have had their first performance in America in this city.


The influence of these festivals upon the culture of the city has been extensive and profound. For more than thirty years Theodore Thomas; who died in 1905, was the masterful leader.


Colonel George Ward Nicholas was president of the board of directors of the Musical Festival Association from its organization until March, 1880. His energy and foresight had much to do with the premanency of the festivals.


Edmund H. Pendleton, William. N. Hobart and Robert B. Bowler and Lawrence Maxwell have been successively efficient presidents of the association. The board of directors from the beginning has contained the names of many of the distinguished citizens of Cincinnati.


A second time a prize was offered by the festival directors. This was in 1882, and it was awarded W. W. Gilchrist, of Philadelphia, for "A Setting of the Forty-Sixth Psalm." After that date the directors offered no further prizes.


Mr. Edwin W. Glover has contributed much to the success of the festivals for some years. He became the leader of the chorus in the autumn of 1896 and prepared the chorus for each festival for a number of seasons. Under his training the chorus became unrivalled in this country.


THE CINCINNATI MUSIC FESTIVALS.


In his musical memories published in 1908, George P. Upton, the veteran critic and editor, says of the Cincinnati festivals :


"They have been a continuous success, and have steadily grown in importance as expositions of the higher music and indices of its growth. I have attended all of these but two, and have seen the steady advance from their modest beginning to the highest standard of musical perfection in this country. They have always seemed to me the crowning achievement in Mr. Thomas's career. The people of Cincinnati do not even yet know how greatly he prized these festivals or how great was the pang when he laid down the baton at the close of the festival of 1904, knowing that it was his last one. Cincinnati has every reason to be proud of its May Festivals and the great influence they have had upon musical progress in the middle west."


Speaking of the festival of 1904, he says :


"Never were more exacting programs laid out for players and singers than these. It is doubtful whether they could have found elsewhere in this country the appreciation which was given them in Cincinnati. It was Mr. Thomas's ambition to give biennial festivals in New, York and Chicago as well as in Cincinnati, utilizing the same material for each. :The scheme was dropped in New York after the first festival, and in Chicago after' the second. Cincinnati alone was able to continue them, even after their founder and master spirit had passed away. The atmosphere of Cincinnati is musical. It has always had musical pride and ambition, and now it has musical traditions and prestige which it evidently is determined not to sacrifice."


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In the course of an extended article on the Cincinnati festivals, Grove's Dictionary of Music and Musicians, the standard English authority, says :


"The most notable of the regular recurring musical meetings in the United States are those held biennially in Cincinnati, Ohio. They had their origin in 1873, have been from the beginning under the artistic direction of Theodore Thomas, and have beyond question exerted a more powerful influence for musical culture than any institution of their kind."


The first festival was held in May, 1873, in the old exposition building, a frame structure on the present site of music hall, which was erected for the Saengerfest of 1867 and used afterwards for industrial expositions. The festival was generously attended and enthusiastically received, and at the close of the last concert, Honorable Stanley Matthews, afterwards United States senator and a justice of the supreme court of the United States, presented a request for another festival signed by a large number of prominent citizens. The result was the festival of 1875, which was held in the same building as the first festival. Its success led to the building of music hall, which was opened and dedicated at the third festival in May, 1878.


Thus in five years the experiment of 1873 had resulted in providing Cincinnati with the largest music hall and organ in the United States, and the festivals were looked upon as permanently established. Their history since then is largely from their artistic side, which is disclosed in the schedules' giving the programs of every festival and the soloists who took part. The association has been moved from the beginning by a spirit of conscientious endeavor and high artistic purpose. Its effort has been to present the master works, classical and modern, with the best forces obtainable, and in doing so it has enlisted the services of the most eminent singers of their time, including Lilli Lehmann, Materna, Nordica, Nilsson, Sembrich, Gadski, Annie Louise Cary, Ritter-Goetze, Marie Brema, Schumann-Heink, Muriel Foster, Campanini, Candidus, Winkelmann, Edward Lloyd, Ben Davies, Henschel, Scaria, Fischer, Bispham and Whitney.

The first festival was given under the direction of a committee of citizens consisting of George Ward Nichols, president ; Carl A. G. Adae, vice president ; John Shillito, treasurer ; Bellamy Storer, Jr., secretary ; John Church, Jr., George W. Jones and Daniel B. Pierson. The second festival in 1875, and all of the festivals since then, have been given by the Cincinnati Musical Festival Association, which was incorporated under the laws of Ohio, in January, 1874, for that purpose. It is composed of one hundred members, who pay twenty dollars each. for a share of stock on becoming members, and annual dues of ten dollars. The money derived from this source is used principally in maintaining chorus classes, where young men and women with good ears and voices, but without musical education, are taught to sing with a view to becoming members of the festival chorus.


The expense of each festival, including the case of training the chorus, averages about $45,000. In 1906 it was $46,247.60, and in 1908, $42,115.68. The income is generally slightly in excess of the expense. In 1908 the income from the festival itself, not including stockholders' dues, was $43,272, being $1,156.79 in excess of the expenses. The cash on hand at the close of the festival after


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paying all expenses was $5,243.84. The total attendance was 18,870, or an average of 3,145 at each of the six concerts.


The association has a modest. endowment fund, which was started years ago at the suggestion of Julius, Dexter, one of the most devoted friends of the association. It has grown by degrees until it amounts now to $12,500, having been increased since the last festival by two legacies of $3,000, each bequeathed by Mary P. Ropes and Eliza 0. Ropes, of Salem, Mass., former residents of Cincinnati. It is hoped that the example of these two ladies may lead other friends of the cause to remember the endowment fund, and the opportunity which it affords of strengthening the position and usefulness of the association. The fund is safely invested in the hands of the Union Savings Bank and Trust Company as trustee, and the interest is allowed to remain to augment the principal.


Prior to the festival of 1880 the chorus was formed for the occasion by combining the forces of separate singing societies, but as the programs grew in dignity and difficulty, that method was found to be inadequate, and the festival chorus was established in 188o as a permanent body. It is a high school of music where the young men and women of Cincinnati make the loftiest works of art their own, by studying them with serious purpose and patient devotion, and then they share their treasure with the public, by delivering it over at the festivals to be intellectual property of the whole city.


Cincinnati's estimate of Theodore Thomas is reflected in the following resolution adopted by the board of directors of the festival association at their first meeting after his death, which occurred January 4, 1905 :


Mr. Thomas has been musical director of the festivals from the beginning. He conducted the first concert of the first festival on Tuesday evening, May 6, 1873, and every concert of every festival thereafter until he laid down his baton after the memorable performance of Beethoven's Missa Solennis and the Ninth Symphony, with which he brought the sixteenth festival to a glorious close on Saturday night, May 14, 1904. What he accomplished for the education of the public and for the cause of music in this city during those years of service is not recorded in any written annals, and can not be ; it is part of the history of Cincinnati and of the lives of her citizens, which he enriched and made better and purer and happier by inspiring them with an appreciation of the. highest and best forms of music, and by revealing to them the ineffable beauties of the art to which he devoted his life with noble and unselfish purpose. His upright character, his high ideals, his sound judgment matured by years of study and labor, his indefatigable energy, his courage and patience in times of trial, his catholic spirit, his faith in the people, and his confidence in the ultimate triumph of his appeals to their intelligence and of his efforts to raise the standard of art in their midst, are the qualities of heart and mind which have endeared him to his associates, and have laid the foundations of his enduring fame as a benefactor of mankind.


He came to us when he was a young man ; he gave to us a large part of his life ; he has gone full of years and honor. He fought a good fight and kept the faith. We deplore the loss of our leader and mourn the death of our friend. In the shadow of his death we pledge ourselves to continue the work which he began, and to maintain the Cincinnati festivals on the plane of excellence where he placed


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them, and in the spirit of conscientious endeavor and high artistic purpose with which he endowed them.


The memorial statute of Theodore Thomas which will be unveiled on the opening night of the festival is intended. to express in permanent form the appreciation by the people of Cincinnati of his devotion to the advancement of our knowledge, and appreciation of music. The movement toward the erection Of a statue originated in the offer of Mr. A. Howard Hinkle to give five thousand dollars for that purpose on condition that a like amount be raised by popular subscription. The Municipal Art Society of Cincinnati undertook to comply with Mr. Hinkle's condition and soon received the necessary subscriptions, in amounts large and small, from citizens.


The Municipal Art Society gave the commission for the statue to Mr. Clement J. Barnhorn, a sculptor born in Cincinnati and practicing his profession here, having full confidence in his ability to express in appropriate form the idea for which the statue stands. It is a source of satisfaction that the statue has been modeled by a local artist and is to that extent also the tribute of a Cincinnatian.


With the dedication of the statue at the festival it passes from the trusteeship of the Municipal Art Society through the Festival Association to !he Music Hall Association.


FRANK VAN DER STUCKEN.


Mr. Van der Stucken was born at Fredericksburg, Gillespie county, Texas, October 15, 1858. He Hired in Europe from 1866 to 1884. He studied at the Conservatory of Music at Antwerp under Peter Benoit from 1875 to 1879, and at Leipsic from 1879 to 1881. He was kapellmeister of the Stadt Theater, Breslau, Germany, in 1882, and conducted a concert of his own compositions under the protection of Liszt at Weimar in November, 1883. In 1884 he came to the United States having been elected leader of the Anion Singing Society of New York, and in 1892 took that society on a most successful concert tour in Europe. He conducted novelty concerts in Steinway Hall, New York, in 1885 and 1886, symphony concerts in Chickering Hall, New York, in 1887 and 1888, and the first concert of American compositions at the Paris Exposition in 1889. He was conductor of the festivals of the North American Sangerbund at Newark, New Jersey, in 1891, with 4,000 singers; and in New York in 1894 with 5,000 singers. He conducted festivals in Indianapolis, Indiana, in 1896 and in 1897. He was clean of the College of Music of Cincinnati from 1897 to 1901, honorary dean thereafter, and conductor of the Cincinnati Symphony Orchestra from 1895 to 1907.


Mr. Van der Stucken succeeded Theodore Thomas as musical director of the Cincinnati festivals in 1905 and conducted with great success the festivals of 1906 and 1908. He reorganized the chorus in the fall of 1905. and has personally trained it for each festival since then.


SPRINGER MUSIC HALL.


Springer Hall owes its inception to the beneficence of Mr. Reuben R. Springer, who in May, 1875, offered to give one-half of the cost of a music hall, provided


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the citizens of Cincinnati would subscribe an equal amounts. The city of Cincinnati donated the property, 401 feet on Elm streets by 354 feet on Fourteenth street, with the contract agreement with the stockholders that the cost for the use of the hall should never be greater than a sufficient amount to maintain the property, and without profit to the stockholders.


The hall was completed at a cost of $346,612.37, and used the first time on May 14, 1878. There are two large buildings, or annexes, that may be used in conjunction with it, and connected by covered passageways, the cost of these additional buildings being $150,331.51.


The care of Springer Music Hall buildings is in the hands of The Cincinnati Music Hall Association, composed of fifty stockholders, who elect. a board of trustees of nine, to look after the details of the care of the property.


In 1895, it was thought advisable to remodel Music Hall, adapting and improving it for the uses intended by its founders, and after an expenditure of $120,000, the hall was reopened to the public use in May, 1896.


It is believed that Springer Hall is one of the finest audience halls in the world. In its large and convenient seating capacity, accessible entrances and exits, ample committee rooms, toilet rooms, stage, unequaled in size, with full accommodations for artists and company, there is nothing further to be asked for by either audience or company, that could add to their comfort and pleasure.


The hall is especially adapted for concert use. The front stage from the curtain line to the footlights being fourteen feet wide, is of sufficient width and depth for all ordinary concert and lecture uses. The c'hairs, twenty-one inches in width, are upholstered in plush, with ample aisles' and cross-aisles, and with plenty of room between the seats,. ease and convenience is provided for the audience.


There are conveniently situated dressing rooms, chorus rooms, and toilet rooms, on first and second floors back of the stage, that are unusual in dimensions and ample for every requirement. In the rear of the stage, in a room especially provided, is placed the organ.. In size, number of, stops, and pipes, it is second to no organ in the world. An additional charge of $10.00 is made when the organ is used. There are provided two places for the orchestra. A sunken orchestra for operatic representations, between footlights and curtain, of fourteen by fifty feet, and also in front of the stage, protected by a brass rail.


The hall is probably the best lighted music hall in the world, both electricity and gas being used. The audience room has over 1,236 lights ; the stage 1,380 lights ; the corridors 771 lights, all sixteen candle electric lamps, and an excellent switch-board to regulate the entire lighting of stage, audience room, and corridors. The, cost of lighting varies from $20.00 to $5o.00 a night, as the quantity of light is required.


There are two ticket offices, one at the north, and one at, the south, in front of the building, each having two entrances, as well as two rear entrances for the .performers and handling of scenery. For safety and rapid handling of audiences, with wide corridors and exits, Springer Hall is unequaled, and as nearly fireproof as such buildings can be made. The hall is centrally located on Elm and Fourteenth streets, 'on direct lines of street cars to all parts of the city and surrounding suburbs.


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With Music Hall there are two additional buildings connecting and adjacent,

available for rental.


DEXTER HALL.


This hall is on the third story front of Music Hall. Size, 112 by 46 feet. Has no regular stage.; but has,, a platform at one end. It is provided with toilet rooms, and four large parlors,. or committee rooms ; well lighted with electricity, and has a separate entrance and ticket office on Elm street. It may be rented separate or in connection with Music Hall.


The Cincinnati Music Hall Association is the organization in charge of the music hall and its interests. It has now existed successfully for more than thirty years, and has made the hall one of the greatest centers of the city's life. Its officers. and members are among the leading people of the city.


CONSERVATORY OF MUSIC.


The Cincinnati Conservatory of Music is one of the city's leading institutions. It was established in 1867.


The high state of perfection which music has attained in Europe may chiefly be attributed to its schools.


The various opportunities offered in conservatories to elevate musical culture, the united efforts of competent teachers to advance the cause of musical education, and the association in classes, are calculated to inspire the pupil with a spirit of emulation, and at the same time to impart confidence and self-reliance


The Cincinnati Conservatory adheres, in all its departments, to the methods of the foremost European authorities.


The well-known artistic success of the Cincinnati Conservatory, acknowledged in expression of highest praise by Anton Rubinstein, Therese Tietjens, Marie Roze, and others, is very high proof of the superior advantages offered in every department of the institution.


The Cincinnati Commercial-Gazette, in speaking of the history of musical progress in Cincinnati, says : "Cincinnati is proverbial for. its musical culture and advantages. Music has become so great a specialty in the process of education and so 'common a branch of study that nobody stops to inquire how it rose to such eminence, or what are its sources of popularity. Miss Clara Baur. the directress of the Concinnati Conservatory of Music, organized the first school of music in the winter of 1867. . . . The Cincinnati Conservatory professes to be a true model in teaching, uniting all its teachers in one scientific plan for the development of the best musical results. There is an inspiration in association with others engaged in the same 'work. There is an esprit du. corps in connection with the school duties which .occasion mutual emulation. In fact, concert and chorus powers are wholly indebted to school forms for success. In a great measure, Miss Baur paved the way for. the various schools since established."


"From the very first organization Of the conservatory it was Miss Baur's aim to .select the very best professional talent for her faculty. It was largely owing to her conscientiousness and good fortune in this regard that her school was


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blessed with such uniform prosperity and success. Far and near, all over the country, its reputation became more and more firmly established long before" any other musical institution had been founded. The conservatory, under her discreet management, was always blessed with a distinct, consistent method in all departments, a large and varied faculty of musicians, endowed with natural gifts, and prepared by high culture to represent their specialties, two requisites most necessary for the perfect efficiency of a music school. Herself trained in the famous Stuttgart Conservatory, with the view of becoming thoroughly imbued with all the elements of knowledge required- for the direction of a music school, Miss Baur was from the start eminently fitted for the responsibilities. which she assumed and carried out subsequently with such indomitable energy and persevering success.


"The conservatory is a musical institution, complete in all its departments—voice, piano, organ, violin, harp, violoncello, all other orchestral instruments, theory and composition, chorus classes, ensemble classes, and all others that make up the curriculum of study in the most comprehensive plan of teaching.


"A complete course is also arranged for all orchestral instruments under the most competent instructors. Much attention is paid to the subject of elocution and the languages. It has always been one of the principles of the conservatory to associate music with the best literary acquirements and the refinement of etiquette and good deportment. Without this association the art of music loses much of its innate force and beauty. * * * The most competent instructors have also been provided for the study of the languages—German, French, and Italian—with a view to translation, conversation, and their application to song.


"Miss Clara Baur, directress of the conservatory, is also at the head of the vocal department. As a teacher, her fame is international. Many of her pupils have made reputations on the concert stage, and not a few of them are on the road to fame. The vocal method of the conservatory is in part that of the old Italian school with such improvements as modern science suggests to the progressive master of tone production.


"Theodor Bohlmann is endorsed by high European authority as a teacher of marked ability. His connection with the faculty of the Conservatory of Music has been marked by an uninterrupted career of success, both as teacher and concert-pianist. Moritz Moszkowski writes : 'Mr. Bohlmann is, in my opinion, one of the most gifted of our younger generation of pianists.' Eugene d'Albert pays the following tribute : 'I consider Mr. Bohlmann one of the best pianists we have at present in Germany. Each time I heard him I was enraptured, and especially was I pleased with the eminently musical style of his playing.' Mr. Bohlmann studied with -Karl Klindworth, P. Rusker, and Moritz Moszkowski. These great masters pronounce him one of the most gifted of musicians, and place him in the front rank of German pianists." Mr. Bohlmann was added to the faculty of the Cincinnati Conservatory of Music in 1890.


In 1905 Mr. Bohlmann obtained a three years leave of absence from the Cincinnati Conservatory of Music, and taking up a residence in Berlin became successor to Dr. Ernest Jedlitzka in the artist department of the famous Stern Conservatory of Berlin, directed by Professor Gustav Hollaender.


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LOCATION.


(From Commercial-Tribune, Sept. 2, 1902.)


The location of the Cincinnati Conservatory of Music is ideal. Situated on a gentle summit overlooking the whole valley, at a distance of only twelve minutes from the center of the great city below, palpitating with the noise and tumult of its strenuous life, yet entirely separated from all these disturbing elements, this fair home of music rises stately and serene from out a grove of forest trees, which shade without concealing the classic symmetry of the building. Green lawns, dotted here and there with gay beds of flowers, stretch all around the edifice. One could easily fancy himself far away in the country, so sylvan are the surroundings of groves and lawn, were it not for the splendid homes near. This is one of the choicest residence portions of Cincinnati, and the conservatory stands in the midst of some of the most beautiful villas of cultivated Cincinnatians. This combination of real, healthy country life for students, with all the advantages of a city easily accessible, is rarely found. It may, therefore, be safely averred that there is no musical institution in America where influence of refinement, home comforts, aristocratic surroundings, together with a country home in the heart of a great city, known as the seat of art, are so .completely blended. The palatial and imposing building in the middle of this perfect park forms a comfortable and commodious home for young ladies, and contains, also, several recital halls, an organ room, rooms for practicing, and all the other adjuncts necessary to such an institution. A splendid concert hall adjoins this main building and is connected with it by arched corridors, suggestive of that cloister-like stillness befitting the outer gates of a temple devoted to the high and holy purposes of music.


THE FIRST COLLEGE OF MUSIC.


Years ago there was another college of music. It was the first and was called Cincinnati College of Music. The present one is called the College of Music of Cincinnati. It was established by Miss Dora Nelson, daughter of Richard Nelson, who was president of Nelson Business College. In 1878, Miss Nelson, who for six years had had the management of a conservatory of music, was urged to establish a music school which would give American students such training as at that time they had to seek in Europe. Miss Nelson, however, preferred to carry out a plan of her own, bought out an academy of music as a center for her college. About the first of August, 1878, she issued her first prospectus. Her school from the first had a large faculty and good patronage.


From the College of Music of Cincinnati, founded October 14. 1878, emanate the chief influences which, for the last quarter of a century, have formed and sustained the musical organizations and given life and enthusiasm to musical art in the city of Cincinnati.


The college is the outgrowth of the musical spirit of the people of Cincinnati. Over sixty years ago the first saengerf est was held in Armory Hall, on Court street. This and subsequent fests gave a musical impetus which culminated, in


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1873, in the first of the famous May festivals—the first not only in Cincinnati but in America. The artistic and financial success of these festivals resulted. in 1878, in the building of the great Music Hall with funds provided jointly by Mr. Springer and other liberal citizens of Cincinnati. The managers of the Music Hall Association and the members of the stock company which, through the enterprise of Mr. Nichols, was formed to found the College of Music of Cincinnati, were, in many cases, the same men, and for three years the college had its home in Music Hall, occupying Dexter Hall and other rooms. Then the college erected buildings of its own, adjoining Music Hall, with which it is still connected by a covered bridge.


The first musical director of the college was Theodore Thomas, to whom the cause of music in America owes much. The college has never been without its own orchestra, chorus, school of opera, school of expression and string quartet, while faculty concerts, pupils' recitals and lectures have been a constant accompaniment of the other teaching facilities of the institution.


With respect to location, the college has many excellent advantages. The buildings adjoin the magnificent Music Hall, in which all the prominent musical events of the season are held. These buildings occupy an entire block, fronting on Elm, Grant and Plum streets, and the building containing the studios, the Odeon and the young ladies' dormitory are practically under one roof.

The college building contains twenty-five large, well-lighted, well-ventilated and well-heated studios, study rooms, library, waiting room, offices, spacious rehearsal rooms, and an organ practice room, containing a large two-manual Roosevelt organ. The dormitory building directly faces Washington Park, and stands in a healthy as well as central part of the city ; about fifteen minutes' walk from the shopping and theatre district.


The college is located on Elm street above Twelfth, and all cars marked "Clifton & Elm," "McMicken & Elm," or "Colerain Ave." will stop at the entrance. Cars from all depots bring you to "Fountain square," and for the one fare you may transfer to any of the above-mentioned cars, and request the conductor to let you off at the College of Music.


When arrangements are previously made by correspondence, and upon receipt of definite information as to the arrival of train, and over what railroad, students from a distance will be met at the depot and escorted to the college.


THE ODEON.


Another acceptable reason for the unique place the college occupies among other American schools of music, is the fact that it was, until recent years, the only one possessing its own concert hall and theater. This auditorium, listed among the representative theaters of Cincinnati, is called the Odeon, and is a modern building in every respect, being constructed of brick and concrete, and is absolutely fireproof. The Odeon has a seating capacity of 700, and is equipped with large, comfortable, ball-bearing chairs, and provided with ample exits. On the stage is another magnificent new two-manual Moeller pipe organ with electric pneumatic action, while the acoustics of the hail are unsurpassed. The stage is 60 feet in breadth, and so thoroughly equipped with different sets of scenery and appliances as to make possible professional performances by the departments of opera, and of elocution and acting.


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There are at present, besides those mentioned, the Clifton School of Music, the Ohio Conservatory of Music, the school of Davis David, the school of John Yoakley, those of Louis Ehrgott, Henry C. Lerch, Vigna Tecla, and numerous other schools and teachers.


The first regular series of symphony concerts by a regular symphony orchestra in the city of Cincinnati, was that given under the auspices of the Cincinnati Orchestra Association Company, during the season of 1895-96, with Frank Van der Stucken, conductor. Prior to this there had been nine symphony concerts given by an orchestra under the auspices of the Cincinnati Orchestra Association Company, but under three different conductors :


January. 17, 18, 19, 1895—Frank Van der Stucken, conductor.

February 21, 22, 23, 1895—Anton Seidl, conductor.

April 11, 12, 13, 1895—Henry Schradieck, conductor.


These nine concerts were merely pr.^ eliminary and for the purpose of trying various conductors. On the strength of this series Frank Van der Stucken was engaged as conductor of the orchestra.


Previous to the organization of the Cincinnati Orchestra Association Company an orchestra had been giving concerts for some years under the direction of Michael Brand, and it was this orchestra which was used as the nucleus for the symphony orchestra of later years, Mr. Brand's orchestra of forty musicians being augmented by some twelve or fifteen brought from New York city with Henry Schmidt of the Philharmonic orchestra, as concertmeister, for the preliminary series of nine concerts.


The Cincinnati Orchestra Association Company grew directly out of the Ladies' Musical Club, of which Miss Emma L. Roedter was president. Symphony concerts in Cincinnati were. the outgrowth of an idea originating with Miss Helene M. Sparmann, honorary president, and Mrs. W. H. Taft, secretary of the Ladies' Musical Club, and this idea was taken up by Mrs. Wm. H. Taft, secretary of the club in 1894-95, and a group of enthusiastic musical women, and they were the organizers and moving spirits of the company which was later formed to give these concerts.


The orchestra project was first mentioned in the fall of 1893, but it was not until the following

spring that the Cincinnati Orchestra Association Company was formed, consisting of a board of fifteen women. A great deal of work was done in the summer and fall of 1894 in preparation for the initial concerts, and although concerts were given in January, February and April, 1895, the first regular season was not inaugurated until, as before stated, the fall of 1895.


The following season, that of 1896-97, the orchestra was increased to seventy men, and as Music Hall had been remodeled the concerts were transferred to this building, where they have since been held. The following season the orchestra was reduced to sixty men, and continued at that number for several years. About ten years' ago the number was somewhat increased, and the increase has been gradual until during the season of 1910-11 the orchestra numbered from 77 to 90 musicians, depending upon the works to be performed.


A guarantee fund was arranged for the first three years of $10,000 per year, and this amount has been gradually increased until the present guarantee fund

is $50,000.00.


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The name of the company giving the concerts was changed by the addition of the word "symphony", making it the "Cincinnati Symphony Orchestra Association Company" in 1906, the last year of Mr. Van der Stucken's conductorship.


Mrs. William H. Taft was president of the company from the beginning until Tw0, (when Judge Taft was appointed governor of the Phillipines) and on her resignation Mrs. Christian R. Holmes was elected to the post, and has remained at the head of the organization since.


During the season 1907-08 the symphony concerts given under the auspices of this company were by various orchestras from other cities. In 1908-09, no symphony concerts were given at all. Work, however, was carried on for the establishment of a permanent orchestra, and in the summer of 1909, "after a guarantee fund of $50,000 per year 'for five years had been secured from public-spirited citizens," Leopold Stokovski was elected director of a permanent orchestra to be established in Cincinnati that fall.


Two seasons of concerts have been given under Mr. Stokovski, who is the present director of the orchestra.


The first business manager of the orchestra was R. E. Morningstar, who was elected to the position in 1900; he was succeeded in 1901 by Frank E. Edwards, who resigned the position in February, 1911, and Oscar Hatch Hawley was elected to the position.


The orchestra has been making tours to other cities since 1900, and these tours have grown so important in the last two years that they now include every large city of the middle west, as Pittsburgh, Buffalo, Cleveland, Columbus, Detroit, Toledo, Indianapolis, Dayton, Terre Haute, and 'many others, to which will be added during the coming season Chicago and St. Louis.


CHAPTER XX.


LITERATURE, JOURNALISM AND PUBLISHING.


DR. DANIEL DRAKE FIRST IN THE FIELD OF LETTERS—EDWARD D. MANSFIELD AND BEN JA M1 N DRAKE COLLABORATE ON A HISTORY OF CINCINNATI IN 1826 CIST AND ROBERT CLARKE OFTEN QUOTED AS LOCAL HISTORIANS—SALMON P. CHASE WRITES PIONEER HISTORY OF OHIO—NAMES OF WRITERS ARE LEGION— GENERAL WILLIAM LYTLE, CARY SISTERS, THOMAS BUCHANAN READ, HARRIET BEECHER STOW E, WILLIAM HENRY VENABLE, THE PIATTS—NEWSPAPERS AND PERIODICALS AND THEIR FOUNDERS—NOTED JOURNALISTS—PUBLISHERS.


At the beginning of the line of authors in Cincinnati stands Dr. Daniel Drake. He came hither in 1800 when he was fifteen years of age, and in 1810 he issued "Notices Concerning Cincinnati," a small volume, now very rare, compact with careful and accurate observation. Drake's "Natural and Statistical View, or Picture of Cincinnati and the Miami Country," came out in 1815. While busily engaged in professional and public work, Dr. Drake wrote from time to time other volumes. He issued in 1842 "Northern Lakes and Southern Invalids." He was the author of a popular treatise on physiology and a number of pamphlets consisting of lectures and addresses. He attracted national attention by his "Systematic Treatise on the Principal Diseases of the Interior Valley of North America." His letters to his children were issued after his death as "Number 6 of the Ohio Valley Historical Series" under the title "Pioneer Life in Kentucky."


Benjamin Drake, lawyer and younger brother of Dr. Drake, in collaboration with Edward D. Mansfield published "Cincinnati in 1826." Benjamin Drake also wrote "Tales and Sketches from the Queen City," lives of "Tecumseh, the Prophet" and "Black Hawk." He was responsible for a work on "Agriculture and Products of the Western States," and his writings appeared frequently in the Western Monthly Magazine, Southern Literature Messenger and other magazines of that day. His most valuable work, perhaps, was "The Life of William Henry Harrison."


Charles Daniel Drake, son of Dr. Drake, was born in Cincinnati. From 1827 to 1830 he was a midshipman in the United States navy ; in 1833 was admitted to the bar in Cincinnati, and in 1834 he removed to St. Louis. In 1847 he returned to Cincinnati, whence in 1850 he again went to St. Louis to practice his profession. In 1867 he became United States senator from Missouri ; he resigned this office to become chief justice of the court of claims in Washington. He published a "Treatise on the Law of Suits by Attachment in the United States," and a "Life of Daniel Drake."


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Edward D. Mansfield was brought by his parents to Cincinnati in 1805, when he'was five years of age. He collaborated with. Benjamin Drake in issuing "Cincinnati in 1826." Mansfield's "Political Grammar," 1835, was among the earliest school books on the science of government and the federal constitution. He published in 1835 a "Treatise on Constitutional Law"; "Legal Rights of Women," 1845 ; "Life of General Scott," 1846; "American Education," 1850; "Memoirs of Daniel Drake," 1855 ; and "Personal Memoirs 1803-48" in 1879 certain of his addresses appeared in pamphlet. For a time he was editor of the Gazette.


Judge Jacob Burnet wrote "Notes on the Early Settlement of the Northwestern Territory," published in New York in 1847, a volume of five hundred pages. Burnet's address before the Cincinnati Astronomical Society, June 3, 044, gives an account of the early settlement of Ohio. 1 His speech in the Whig convention 1839 includes a sketch of General W. H. Harrison. He contributed an article to the Gentleman's Magazine, June, 1848, on Cincinnati in 1806. Judge Burnet also provided illuminating facts as to the founding of Losantiville in the historical preface he wrote for .Shaffer's Cincinnati, Covington, Newport and Fulton Directory for 1839-40.


The Rev. Timothy Flint came first to Cincinnati as a visitor for a few months early in the nineteenth century. Later, he came to reside permanently. He wrote "Recollections of the years passed in the Valley of the Mississippi" and "Indian Wars in the West". "Condensed Geography and History of the States in the Mississippi Valley," Cincinnati 1828; "Arthur Clenning," 1828 ; "George Mason or the Young Backwoodsman," 1829 ; "Shoshone Valley," Cincinnati 1830; a "Memoir of Daniel Boone," Cincinnati 1834.


Charles Cist issued at intervals "Cincinnati in 1841," "Cincinnati in 1851.," and "Cincinnati in 1859," volumes of historical and statistical matter that is invaluable. Cist was also editor; during a portion of the years between 1840 and 1850, of the Western General Advertiser, and from its pages gleaned material for two volumes of “Cincinnati Miscellany, or Antiquities of the West," a mine which all writers on Cincinnati since have worked in.


The eldest son of Charles Cist, Lewis J. Cist, wrote verses for the Advertiser, the Hesperian and other local papers, and in 1845 issued a volume called "Trifles in Verse : A collection of Fugitive Poems."


Robert Clarke, of the noted publishing house of Robert Clarke & Co., was better informed on local history than any other man in this region. His collection of Americana, now part of the library of the University of Cincinnati, is the best in existence. He prepared materials for a history of this city but never wrote it. He issued a number of pamphlets of his own, published numerous valuable books for others, and was the counsellor of a considerable number of other men who were at work on historical subjects. Roosevelt advised with him while writing "The Winning of the West," and. John Fiske was one of his correspondents. He was thoroughly well posted as to the sources of local history especially. Mr. Clarke was the author of "The Pre-historic remains found on the Site of the City of Cincinnati, with a Vindication of the Cincinnati Tablet." He also issued a pamphlet on the first sales of lots and quotations of lots in Losantiville. He edited the very valuable Ohio Valley Historical Series."


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The first history of Ohio was by Salmon P. Chase and was prepared while he was an attorney in this city. It was first published as an introduction to Chase's edition of the statutes of Ohio, in 1833.


In 1853, Moore, Anderson, Wilstach and Keys issued Hart's "History of the Valley of the Mississippi," Timothy Flint's "Indian Wars of the West," "Life and Exploits of Daniel Boone," the "History and Geography of the Mississippi and the Shoshone Valley were all published here.


Ephraim Morgan and Sons in 1855 issued here a history of the Shawnee Indians, by Henry Harvey.


Howe's noted historical collections of Ohio were written and published in this city ; there were four editions from 1847 to 1869.


In 1872, the Miami Printing and Publishing Company published "A Chapter of the History of the War of 1812 in the Northwest" by Colonel William Stanley Hatch, who was a volunteer in the light infantry of Cincinnati.


"Sketches of Western Methodism : Biographical, Historical and. Miscellaneous, Illustrative of Pioneer Life," by the Rev. James B. Finley, was a work of much value, and is still an authority upon its subject. Finley's "History of the Wyandott Mission at Upper Sandusky, Ohio, under the direction of the Methodist Episcopal Church" was published here.


"A History of the Miami Baptist Association from its organization in 1797 to a Division of that Body on Missions in 1836" by A. H. Dunlevy, was a valued contribution to early ecclesiastical history in this region.


Lieutenant E. Hannaford wrote the account of the Sixth Cincinnati Infantry, and Major W. H. Chamberlain published the history of the Eighty-first Regiment.


Peter H. Clark published a small book giving an account of the Black Brigade, the negroes of Cincinnati who worked upon the fortifications at Covington in 1862.


"Ohio in the War : Her Statesmen, Her Generals, and Her Soldiers," edited by Whitelaw Reid, was published by Moore, Wilstach and Baldwin.


"Cincinnati's Beginnings," by F. W. Miller, was published by Peter G. Thomson in 1880. Thomson published also in 1880. "The Old Court House : Reminiscences and Anecdotes of the Courts and Bars of Cincinnati," by Judge Carter. Peter Thomson also arranged and published in 1880, "The Bibliography of the State of Ohio, being a Catalogue of the Books and Pamphlets relating to the History of the State."


"The Signs of the Times, comprising a History of the Spirit Rappers in Cincinnati and Other Places, with Notes on Clairvoyant Revealments," by W. T. Coggeshall, recounts a curious story with local bearings.


"The Schools of Cincinnati and its Vicinity," by J. P. Foote, 1855, is a useful book.


"An Essay on Anti-slavery before 1800," by William F. Poole, 1872, was published here.


A very large number of pamphlets bearing upon the history of this city and vicinity have been issued and form a literature in themselves. Some of them were delivered as orations on anniversary occasions ; some were delivered before various historical societies. "Pioneer Life at North Bend," an address by J. Scott Harrison," was issued in pamphlet form by the Robert Clarke Company.


484 - CINCINNATI—THE QUEEN CITY


A considerable number of valuable pamphlets and books bearing on church history in this region have been issued. Dr. J. G. Monfort published "Presbyterianism North of the Ohio." Rev. Richard McNemar told the story of the "Kentucky Revival," and his book was issued from the office of Liberty Hall. Rev. William H. James published an historical discourse on the seventy-ninth anniversary of the Presbyterian church of Springdale. The history of the Reading and Lockland churches was written by the Rev. Hutchison. The Rev. Andrew J. Reynolds wrote the history of the Cumminsville Presbyterian church.


There have appeared in printed form also the Rev. Samuel R. Wilson's discourse at the dedication of the church of the pioneers, the First Presbyterian church at Cincinnati, September 21, 1851; "A Brief Account of the Origin, Progress, Faith and Practice of the Central Christian Church of Cincinnati ;" the "History of Union Chapel, Methodist Episcopal Church."


Pamphlet histories have also appeared of the high schools of Cincinnati, of Lane Theological Seminary, the Catholic Institute, the Wesleyan Female College, and Western Baptist Theological Institute.


Brief histories have been issued of the Young Men's Mercantile Library, the Public Library, the Law Library, the Mechanics' Institute, Spring Grove cemetery, the Academy of Medicine, the Literary Club, the various expositions, the Cincinnati Orphan Asylum, the suspension bridge, and the Tyler-Davidson Fountain.


Among the books and pamphlets about Cincinnati, not already mentioned, are "The City of Cincinnati, a Summary of its Attractions, &c.," by George E. Stevens, 1869 ; "Illustrated Cincinnati," by D. J. Kenny, 1875 ; "Cincinnati Illustrated," 1879, also by Kenny. There have been guide books and hand books by Boyd, Caron, Holbrook and King.


"The Cincinnati Society Blue Book and Family Directory," published by Peter G. Thomson, 1879 ; "The Suburbs of Cincinnati," by Sidney D. Maxwell ; "Suburban Homes," by Richard Nelson ; "The Manufactures of Cincinnati," by Sidney Maxwell.


There have been half a dozen histories of Cincinnati, among others those of Henry Ford and C. T. Greve's admirable works.


There have been issued a considerable number of biographies of noted Cincinnatians written by local authors. Lives of Daniel Drake, Dr. John Locke, Larz Anderson, James H. Perkins, Judge Thomas Morris, Samuel Lewis, Rev. Truman Bishop, Rev. Philip Gatch, Mrs. Charlotte Chambers Ludlow, the Rev. Adam Hurdus, Jacob Burnet, Rutherford B. Hayes, William Spooner, Samuel E. Foote and others.


A noted book is the "Reminiscences" of Levi Coffin, who was president of the underground railway.


The life of General W. H. Harrison was written in 1824, in 1836 and in 1840 by several authors residing here.


Among the books for pamphlets on pre-historic Cincinnati were that of Robert Clarke, already mentioned, "Pre-historic Man and the Moundbuilders ;" "To What Race did the Moundbuilders Belong?" by Force ; "Some Early Notices of the Indians of Ohio," by Force ; "A Discourse on the Aborgines of the Valley of the Ohio," by W. H. Harrison, 1839 ; "The Pre-historic Monuments of the Little Miami Valley," by Dr. Charles L. Metz ; "An Inquiry into the Origin of


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the Antiquities of America," by John Delafield ; "The Moundbuilders," by J. P, McLean, 1879.


There have been a number of scientific books and pamphlets relating to Cincinnati, some of which have been issued here and some in other cities. In 1849 there was issued in Philadelphia a small book, "A Catalogue of Plants, Native and Naturalized, collected in the vicinity of Cincinnati." In 1849 there was published here a catalogue of the unios, alosmodontas and anadontas of the Ohio river and northern tributaries, adopted by the Western Academy of Natural Sciences, at Cincinnati.


In 1876 there was published "A Catalogue of the Land and Fresh Water Mollusca found in the immediate vicinity of Cincinnati," by George W. Harper and A. G. Weatherby. There was also issued a "List of the Land and Fresh Water Shells found in the vicinity of Cincinnati," also "The unionidae of the Ohio river and its Northern Tributaries within the State of Ohio," by R. M. Byrnes.


In 1877 appeared "A Catalogue of the Birds in the vicinity of Cincinnati, with Notes." In 1871 and 1875 U. P. James published "A Catalogue of the Lower Silurian Fossils of the Cincinnati Group." In 1879 appeared "A Description of New Genera and Species of Fossils from the Lower Silurian about Cincinnati," by E. O. Ulrich. In 1852 was published a "Catalogue of Flowering Plants and Ferns observed in the vicinity of Cincinnati," by Joseph Clark. In 1879 appeared "A Catalogue of the Flowering Plants, Ferns and Fungi growing in the vicinity of Cincinnati," by Joseph James.


Dr. Orin E. Newton printed a pamphlet on Asiatic Cholera as it appeared in Cincinnati in 1849-50 and in 1866. In 1859 Drs. J. J. Moorman and W. W. Dawson published a work on the Ohio white sulphur spring. "Analyses of the Waters in the Vicinity of Cincinnati," by Dr. John Locke, appeared in 1853.


There has been a considerable number of publications on art issued in Cin cinnati, and still others by Cincinnati authors have appeared elsewhere. George. Ward Nichols issued two handsome books published elsewhere, one on "Art Education Applied to Industry," and another on "Pottery ; How it is Made and Decorated."


Miss M. Louise McLaughlin issued through the Robert Clarke Company "China Painting : A Practical Manual for the Use of Amateurs in the Decoration of Hard Porcelain ;" also "Pottery Decoration : A Practical Manual of Under-glaze Painting."


The Clarke Company also issued for Benn Pitman an appendix on modeling to "Instructions in the Art of Modeling in Clay," by Vago.


Miss E. H. Appleton published through Clarke's her translation from the German of "Charcoal Drawing without a Master," by Karl Roberts.


Strauch prepared a very handsomely illustrated folio, "Spring Grove Cemetery, Cincinnati : Its History and Improvements, With Observations on Ancient and Modern Places of Sepulchre."


There have been numerous other works on art subjects issued by Cincinnati authors.


A number of notable medical works have had their origin in this city. "A Systematic Treatise on

the Diseases of the Interior Valley of North America,"


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and "A Treatise on Asiatic Cholera," by Dr. Drake, were among the most celebrated of these.


Dr. William B. Fletcher also published a book on "Cholera : Its Characteristics, History, Treatment, &c."


Dr. Thomas C. Minor published an important work on "Etiology," one. on "Erysipelas and Child-bed Fever," and one on "Scarlatina Statistics of the United States."


A translation of Hoffman and Ultzmann's "Guide to the Examination of Urine," from the German, was made by Dr. Forcheimer.


Lectures on physiology were published by Dr. James T. Whittaker.


A chart showing the physiological arrangement of the cranial nerves was printed by Dr. Edward Rives.


"A Handbook for the Military Surgeon," was published by Surgeon Tripler and Dr. George C. Blackman.


A translation from the French of "Hygiene and Education of Infants," was made by Dr. George E. Walton and his English version was issued at Paris.


These are but a portion of the publications of this kind for which Cincinnati medical men have been responsible.


In the sphere of the law there have been issued by the lawyers and publishing houses of Cincinnati a number of valuable works. Stanley Matthews' "Summary of the Law of Partnership" was for the use of business men.


J. R. Sayler's "American Form Book" is composed of legal and business forms.


Florien Giauque is the author of "Revised Statutes of Ohio, seven editions and various supplements thereto ;" "Raff's Guide for Executors, &c.," two editions ; "Manual for Road Supervisors," seven editions ; "Ohio Election Laws ;" "U. S. Election and Naturalization Laws ;" "Manual for Guardians and Trustees," six editions ; "Dower and Curtesy Tables," two editions ; "Manual for Assignees," six editions ; "Law of Roads, Ditches, Bridges and Water Courses ;" "Notary's and Conveyancer's Manual," four editions ; "Manual for Constables, Marshals, etc.," five editions ; "Settlement of Decedent Estates," eight editions ; "Present Value Tables" (for value of dower, damages, &c.) two editions ; "Road and Bridge Laws of Ohio ;" "Drainage Laws of Ohio!'


Wade H. Ellis is the author of the "Annotated Ohio Municipal Code."


Francis B. James is the author of "Ohio Law of Opinion Evidence ;" "Collection of Cases on the Construction of Statutes ;" also numerous legal and commercial addresses, some of which are published under the title of "Advertising and Other Addresses."


Judge Samuel F. Hunt was the author of a volume called "Orations and Ad--dresses," a portion of which is of a legal character, while others of the addresses are patriotic and historical.


During the long and brilliant history of the Cincinnati bar there have been many other books issued by lawyers of this city.


Among the religious books issued under the auspices of the Roman Catholic church in Cincinnati is a translation of Alzog's "Manual of Universal Church History," by the Rev. F. J. Pabisch and the Rev. Thomas S. Byrne.


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Jewish authors in Cincinnati have published numerous volumes. Among the best known of these are the works of the Rev. Dr. Isaac M. Wise; some of these are the "Hebrews' First and the Second Commonwealth ;" "The Martyrdom of Jesus of Nazareth ;" "Three Lectures on the Origin of Christianity ;" "The Cosmic God ;" "The Wandering Jew ;" "An Essay on the Temperance Question ;" "Judaism, Its Doctrines and Duties," "The Combat of the People, or Hillel and Herod ;" and the "First of the Maccabees."


H. M. Moos, also a Hebrew, published "Hannah, or a Glimpse of Paradise ;" "Carrie Harrington ;" "Mortara, or the Pope and His Inquisitors."


Nathan Mayer wrote a novel called "Differences."


M. Loth was author of "Our Prospects," and "The Forgiving Kiss, or Our Destiny."


H. Gersoni wrote "Sketches of Jewish Life."


Among the older works issued by the Methodist Book Concern are a "Manual of Biblical Literature," by Dr. W. P. Strickland, and the "Autobiographies of Peter Cartwright and of Daniel Young," edited by the same writer. The same house issued a "Treatise on Church Polity," by Bishop Morris ; "Death Bed Scenes," by Dr. D. W. Clark ; by the same author, "Dying With and Without Religion," and "Fireside Reading," in five volumes. Dr. Clark also wrote the "Life and Times of Bishop Hedding; a treatise on Man all Immortal or •the Nature and Destination of Man as Taught by Reason and Revelation."


The Methodist Concern published "Footprints of an Itinerant," by the Rev. NI. P. Gaddis ; the Rev. J. B. Finley's "Autobiography and His Life Among the Indians." From the same house came "Missions and Missionary Societies of the Methodist Episcopal Church," by Dr. J. M. Reid ; the "History of the Missions of the Methodist Episcopal Church," by Dr. Strickland; "Introduction to the Gospel Records," by Dr. William Nast ; "Autobiography of a Pi0neer," by the Rev. Jacob Young; "Pioneers of the West," by Dr. Strickland ; "Sacred Hour," by M. P. Gaddis ; "China and Japan," by Bishop Wiley.


The list of important works issued by this house in recent years is too long for recapitulation.


Local authors have from time, to time issued books through the Western Tract Society. The first edition of the "Autobiography of Levi Coffin, president of the Underground Railway, and a leader of local Abolitionists," was issued by the tract society, and the second edition was published by the Robert Clarke Company. The tract society has, however, been a handler of books rather than a publishing house on an extensive scale.


In 1855, W. C. Larrabee issued "Rosabower : A Collection of Essays and Miscellanies."

In the same year appeared "The Mock Marriage, or the Libertine's Victim," by H. M. Rulison.


In 1832 appeared "The Legends of the West," by James Hall. He also wrote "Winter Evenings, a series of American Tales ;" "The Soldier's Bride, and other Tales ;" "The Harpe's Head, a Legend of Kentucky ;" "Tales of the Border ;" "The Wilderness and the Warpath ;" "The Western Souvenir," for 1829; "Letters from the West, Sketches of History, Life and Manners in the West," "Statistics of the West, 1836," "Notes on the Western States," "The


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West in its Commerce and Navigation ;" "The West, its Soil, Surface and Productions."


There was published in Cincinnati, "Selections from the Poetical Literature of the West," attributed to W. D. Gallagher ; and "Poems on Several Occasions," by Moses Guest, 1823.


"A Plea for the West," by Dr. Lyman Beecher, was a book that attracted much attention:


"The Far East, or Letters from Egypt, Palestine and other Lands of the Orient," by D. N. C. Burt, was issued here.


R. G. Huston's "Journey in Honduras and Jottings by the Way," attracted attention.


"The Secret of the Andes" was an historical novel by the Hon. Frederic Hassaurek.


Among miscellaneous works issued here were a "Treatise on Politics as a Science," by Charles Reemelin ; a translation of Du Breuil's "Vineyard Culture," by E. and C. Parker ; "Silver and Gold, and their Relation to the Problem of Resumption and an address on the Monetery Situation," by S. Dana Horton.


Colonel C. W. Moulton published "References to the Coinage Legislation of the United States ;" "American Coinage and Currency," by Durbin Ward ; "Address on Gold and Silver," by the Hon. William S. Groesbeck. Nicholas Longworth issued a translation of the "Electra of Sophocles ;" the "Historical and Literary Miscellanies" were edited by G. M. D. Bloss and published by subscription in 1875 ; "Summerland Sketches, or Rambles in the Backwoods of Mexico and Central America" was by Felix L. Oswald, was illustrated by Farny and Faber, and was published by Lippincotts.


Among the earliest glimpses we have of a poet residing in this vicinity is the remark of E. D. Mansfield that about the year 1806, Joseph Pierce, "a poet of decided talent" lived here ; none of his writings are now known.


The first book of poetry with distinctively western subjects published in this city appeared under the title "Horace in Cincinnati ;" it was by a merchant named Thomas Pierce whose volume appeared in 1822 ; the poems were of the nature of local satires and appeared first in the Western Spy and the Literary Chronicle.


The Spy in 1815 was the first Cincinnati journal to publish poetry by local poets. The home poets for several years favored the Spy with their productions, but when The Olio began to be issued the rhymers came to prefer that sheet for the presentation to the public of their verses.


In 1819, there was printed in Cincinnati a small pamphlet called "American Bards : A Modern Poem in Three Parts." This was the first book of original verse that was published in the West. No name was attached to the pamphlet but it was attributed to Gorham A. Worth, whose writings in the papers were usually signed "Ohio's Bard." Worth was cashier of the United States branch bank.


Moses Brooks, who came to this city in 1811, a merchant and lawyer published prose and verse in the papers and magazines.


The city newspapers, between 1817 and 1820, received numerous contributions that were declared to come "from an old garret." These actually emanated


CINCINNATI—THE QUEEN CITY - 489


from several young men of prominence who had formed a literary club. Bellamy Storer, Nathan Guilford, Nathaniel Wright, Benjamin F. Powers were of this company. Most of these turned their attention in other directions afterwards.


The Philomathic was a literary society in 1818 composed primarily of students of the Cincinnati College. A branch of this society was organized for men other than college students. To this latter belonged such men as W. H. Harrison, Peyton Symmes, the Drakes, Thomas Pierce. Somewhat later, the society offered a gold medal of fifty dollars value for the best original poem by a western man, written between January 15th, 1821 and April 1st, 1822. The poem was to contain at least four hundred lines. The judges were John P. Foote, Joshua D. Godman and Benjamin Drake.


To this committee there were submitted twelve poems in competition for the prize. "The Muse of Hesperia, a Poetical Reverie," was awarded the medal. At the time the authorship was kept secret for some reason. The society published the poem in a handsome edition, and in 1823 it was made known that Thomas Pierce was the author. This poem. was reprinted by Coggeshall in his "Poets and Poetry."


When the Cincinnati theater was opened September 1821, the prologue read was by Thomas Pierce. The prize given for this poem was a silver ticket of admission for a year. Pierce composed an "Ode to Science," which was read on an extra night of the Western museum. He was a regular writer for the Literary Gazette in 1824-25. The last poem he wrote, "Knowledge is Power," appeared in the Literary Gazette in 1829.


In 1824-25 William R. Schenck, born in this city in 1799, contributed numerous brief verses to the Gazette.


Charles Hammond published numerous verses of a satirical nature in the Gazette, of which he afterward was editor.


Otway Curry made considerable reputation as a poet. He came from Highland county to Cincinnati in 1823. For a year he worked at his trade, that of a carpenter. After a period of absence from this city he returned in 1828, and choosing the pen name "Abdallah," he published meritorious verses in the Mirror and the Chronicle.


During 1821-24, W. D. Gallagher worked as a printer in this city and while still in his apprenticeship he issued a small literary paper of some merit. Later he wrote much for other papers of the city. After, in 1828, having published a series of letters from Kentucky and Mississippi in the Saturday Evening Chronicle, he went to Xenia in 1830 and edited the Backwoodsman. In 1831 he returned to Cincinnati and edited the Mirror, under its various names, for several years. Early in 1835 Gallagher issued his first book of poems, Erato No. ; in August he published Erato Number 2, and shortly afterward Number 3 appeared. These publications gained him considerable reputation. Departing from Cincinnati for a time, he worked upon the editorial staff of the Hesperian in Columbus. He returned to Cincinnati in 1839 and edited the Gazette, with the exception of one year, until 1850. He was editor of a collection of the "Poetical Literature of the West," representing thirty-eight authors, published in 1841 by U. P. James.


490 - CINCINNATI—THE QUEEN CITY


Hugh Peters, a native of Connecticut, made considerable reputation. here by his poetry between 1828 and 1835. He was the author of "My Native Land" and other verses.


John B. Dillon's first poem, "The Burial of the Stranger," appeared in the Gazette. In 1834 he removed to Indiana. After his departure from this city he published several historical works that gave him standing.


About 1830, Mrs. Sarah Louis P. Hickman was among the writers of poetry in this city:


While Salmon P. Chase resided in this city as an attorney, he wrote occasional verses, in addition to editing the statutes of Ohio with a history of the state, and contributing articles to the North American Review and the Western Monthly Magazine.


In 1836-39, Charles A. Jones contributed verses to the Mirror and in 1840 to the Daily Message. He issued in 1835 a small collection of verses called "The Outlaw, and Other Poem)." During 1839 he contributed to the Gazette "Lyrica Aristophanea." Under the signature of "Dick Tinto" he issued another series of verses.


Micah D. Flint, a son of the Rev. Timothy Flint, frequently published poems in the Western Review.


In 1832, Frederick W. Thomas, who was associate editor with his father of the Commercial Advertiser and Daily Evening Post, published a poem called "The Emigrant," which was quite popular at the time. He also wrote many other poems, beside prose productions.


The father of Frederick, Lewis F. Thomas, lived in this city several years, dating from 1829. Besides, in association with his brother William, aiding in the management of the Commercial Advertiser and the Daily Evening Post, he wrote much for the Mirror and the Western Monthly, particularly poetry. In 1839 he was editor of the Herald of Louisville. Later, he lived in St. Louis and in Washington, D. C, While in St. Louis he published the first volume of poetry issued west of the Mississippi. It was called "Inda and Other Poems," the title poem having been read in 1834 before the Cincinnati Lyceum.


James H. Perkins entered upon literature by contributing to the Western Monthly Magazine, and in 1834 became editor of the Saturday Evening Chronical. He was a frequent contributor to the New York Quarterly and the North American Review, and was the author of the first edition of "The Annals of the West," which was published in Cincinnati in 1847 by James Albach. Mr. Perkins afterward became a Unitarian clergyman.


Thomas H. Shreve furnished numerous admirable essays and poems for the Mirror, the Hesperian, the Western Monthly Magazine. the Knickerbocker and other magazines.


James W. Gazlay, who was for a time a congressman, published a volume called "Sketches of Life, and Other Poems." He also issued a volume of prose, of a humorous nature, called "Races of Mankind, or Travels in Grubland," by Captain Broadbeck.


William Ross Wallace, born in Lexington in 1819, wrote at seventeen years of age a poem called the "Dirge of Napoleon," which attracted much attention. In 1836, the Mirror published his poem "Jerusalem," which it declared "beauti-


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ful, exceeding beautiful." Wallace's first volume of poetry, "The Battle of Tippecanoe, and Other Poems," was published in Cincinnati in 1837 by P. McFarlin. Wallace removed to New York city, where he made fame as poet and song writer.


The Cary sisters are among the most famous literary products of Hamilton county. Alice was born April 20, 1820 and Phoebe September 24, 1824 near Mount Pleasant, now Mount Healthy, in Springfield township. Alice at eighteen years began to publish verses in Cincinnati papers, "The Child of Sorrow," the first of her poems, appearing in the Sentinel. Their first book, "Poems of Alice and Phoebe Cary, was published by Moss and Brother of Philadelphia. The sisters received one hundred dollars for the book. In 1850, Alice went to New York to live by her writings, and Phoebe and a younger sister joined her in the spring of 1851. They published two series of "Clovernook Papers," "Clovernook Children," "Pictures of Country Life," "Hagar, a Story of Today," "The Bishop's Son," "Married, Not Mated," "The Lover's Diary," "Snow Berries," in prose ; "Lyra and Other Poems," "Lyrics and Hymns," "Poems and Parodies," "Poems of Faith, Hope and Love." They did much work together and separately ; but each earned fame for herself. Each one wrote poems that have found place in anthologies and in the hearts of multitudes. In New York, their home was a resort of many of the most noted people of their day.


Edward A. McLaughlin, a native of Connecticut, established himself for some years in Cincinnati as a printer and writer. October 1841 he published a volume of poems called "The Lovers of the Deep." Certain of these verses were dedicated to various prominent persons in this city.


James W. Ward, while a student here in the Ohio Medical College, published verse and prose in the Hesperian and other local journals. He also studied botany and in 1855 was associated with Dr. John A. Warder in issuing the Western Horticultural Review. Warder was the author of a parody on Long-fellow's "Hiawatha," called "Higher Water." It appeared first in the Gazette and was then issued in book form. Ward was for a number of years connected with Henry W. Derby & Company, publishers. He afterward went to New York city.


James Birney Marshall, a native of Kentucky, bought the Cincinnati Union in 1836, renamed it the Buckeye, but was associated with it for only a brief time. In 1837 he purchased and united the Western Monthly and the Literary Journal and issued them as the Western Monthly Magazine and the Literary Review. He associated with him in editorial work W.' D. Gallagher. His enterprise failed and he became a political writer.


Cornelius A. Logan, born in Baltimore, came to Cincinnati in 1840. Being actor, playwright, novelist and poet, he wrote comedies and farces, and good naturedly defended the stage from its assailants. He wrote "A Husband's Vengeance," in competition for a prize offered by Neals' Saturday Gazette. His comedy "The Mississippi" was reprinted in the Edinburg Review. Three of his daughters became well known actresses, one a writer of repute, and his son became a prominent member of the Cincinnati bar.


Mrs. Sophia H. Oliver, wife of Dr. Joseph H. Oliver, in 1841 was a contributor of verses to the Daily Message of Cincinnati. Previous to that period she


492 - CINCINNATI—THE QUEEN CITY


had written for other journals in Ohio and Kentucky. Later, she wrote for the Columbian. and Great West and other papers.


Mrs. Margaret L. Bailey was the daughter of Thomas Shands, who settled near Cincinnati in 1818. She was the wife of Dr. Gamaliel Bailey, publisher of the anti-slavery journal The Philanthropist in Cincinnati and later of the National Era of Washington, a paper of the same character. Mrs. Bailey was the editor of the Young People's Monthly Visitor for several years. She wrote poems that were commended by Griswold.


William Dana Emerson, a lawyer by profession, was the author of some poems, which in 1850 were collected by his brother and issued privately under the title "Occasional Thoughts in Verse."


Edwin R. Campbell, editor of the Daily Times in 1841, and later of the Dispatch, published a number of poems in the Knickerbocker and the Hesperian.


Mrs. Rebecca S. Nichols, wife of Willard Nichols, who was a journalist, came with her husband to Cincinnati in 1841. In 1844 she published her first book, "Berenice, or the Curse of Minna," and other poems. She was, in 1846, editor of the Guest, a literary paper, and wrote for a number of eastern magazines. Her articles in the local Herald, signed "Kate Cleaveland," were very popular. For some time she received liberal payment from the Commercial for a weekly poem. She published, in 1851, by the assistance of Nicholas Long-worth, a large book of poems called "Songs of the Heart and of the 'Hearthstone."


Mrs. Catharine A. Warfield and her sister, Mrs. Eleanor Percy Lee, who both lived for some time in this city, published in New York, about 1852, a book called "Poems by Two Sisters of the West," and in 1846 they issued another volume, "The Indian Chamber and Other Poems."


Mrs. Susan W. Jewett, who from 1840 to 1857, wrote much in prose and verse for local papers, and for some time edited The Youth's Visitor, issued, through Truman and Spofford, in 1856, "The Corner Cupboard," a volume of poems and sketches.


Mrs. Luella J. B. Case, wife of Leverett Case, who came here in 1845, and was editor and proprietor of the Enquirer, published, during her five years' residence in Cincinnati, a number of poems in the Enquirer. These verses were upon western themes.


An English woman, Miss Mary A. Foster, lived here for a short time and wrote verses under the pen name "Mary Neville," for the Commercial and the Gazette.


"Buds, Blossoms and Leaves," was the title of a volume of verses issued in Cincinnati in 1854 by Mrs. Mary E. Fee Shannon. She was born in 'Clermont county.


Mrs. Celia M. Burr, who wrote for city papers under the name of "Celia," came from Albany in 1844 with her first husband, C. B. Kellum. She was literary editor of The Great West in 1849.

After that publication merged with the Weekly Columbian, she severed connection with it. She became then a correspondent for the New York Tribune, writing also for eastern magazines.


Austin T. Earle, in 1843-44, was one of the editors of The Western Rambler and was the author of numerous poems.


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A painter, Horace S., Minor, was, about 1845, also a frequent writer for local papers. He also was a writer on a weekly paper called The Shooting Star.


Benjamin St. James Fry was a Methodist minister and a teacher. He aided Earle in establishing The Western Rambler. He wrote also for the Ladies' Repository and the Methodist Quarterly Review; He wrote several books.


William W. Fosdick, born in Cincinnati in .1825, produced a drama called "Tecumseh." Julia Drake, a well known actress in her day, was his mother. Fosdick published a novel in 1851 called "Malmiztic, the Toltec, and the Cavaliers of the Cross." He issued "Ariel and Other Poems" in 1855. He was the author of other works, and was at the time often called the "Poet Laureate of Cincinnati."


About 1855, Peter Fishe Reed followed the occupation of a house and sign painter, but also wrote under the name "Viva Mona," attractive verses for the Columbian. He also wrote several romances and treated art topics.


William Penn Brannan, born in Cincinnati in 1825, was both painter and poet.


Benjamin T. Cushing studied law in 1847-48 with Salmon P. Chase, and was the author of "The Christiad," a long religious poem.


About 1850, Obed J. Wilson was a teacher in this city and did much writing for the local press. He was literary critic for the publishing house' of Van Antwerp, Bragg and Company.


Alfred Burnett was born in England, but came to this city in boyhood. He wrote much in prose and verse, and had considerable reputation as a lecturer and reader.


In 1856, Mrs. Helen Truesdell, then living in Newport, published through E. Morgan & Sons, a volume of poems. She had been for several years a contributor to the Parlor Magazine.


"Flowers of the West," was a volume of poems, issued.in 1851 in Philadelphia, by Mrs. Anna S. Richey Roberts. She lived in this city until her marriage in 1852.


Mrs. Frances Sprengle Locke, married in 1854 to Josiah Locke, a writer on the Cincinnati press, contributed poems to the magazines and newspapers.


The only connection of William Dean Howells with Cincinnati was that in the fifties he was for a time one of the. editors of the Daily Gazette.


William H. Lytle, soldier, poet and lawyer, author of "Antony and Cleopatra," belonged to one of the oldest families of Cincinnati. While many others of his writings have been much admired, his literary fame rests upon one remarkable and widely popular poem.


James Pummill; born in Cincinnati, a printer by trade, was a frequent contributor to the magazines, and published in 1852 "Fugitive Poems." "Fruits of Leisure" was the title of another volume of his verse,' the latter having been privately printed.


John T. Swartz was brought by his parents to Cincinnati in 1841. He became a teacher, and was also author of the verses "There are no Tears in Heaven," and other poems.


John James Piatt is one of the best known writers Cincinnati has produced, and still lives honored and respected by multitudes. In conjunction with 'W. D.


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Howells, he published in 1860, in Columbus, "Poems of Two Friends." He has published "Poems of House and Home," "Western Windows and Other Poems," "The Lost Farm," "Landmarks and Other Poems," "Penciled Flyleaves: A Book of Essays in Town and Country," "The Nests: at Washington," "Poems in Sunshine and Firelight," "Lyrics of the Ohio Valley," "The Ghost's Entry and Other Poems." He edited The Union of American Poetry and Art, and The Hesperian Tree. He lives at North Bend.


Mrs. Sarah Morgan. Bryan Piatt, wife of J. J. Piatt, is a woman of genius and a successful poet. A London critic says her work "is not easy to equal, much less to surpass, on either side of the Atlantic." She is the author of "A. Woman's Poems," "A Voyage to the -Fortunate Isles," "That New World," "Poems in Company with Children," "Dramatic Persons and Moods," "An Irish Garland," "In Primrose Time," "Child's World Ballads," "The Witch in the Glass," "An Enchanted Castle." Her "Complete Poems," two volumes, were published in 1894, by. Longmans, Green & Co.


Thomas Buchanan Read wrote his famous poem, "Sheridan's Ride," in the h0use on Seventh street, in which he then lived. The house is now marked with a bronze tablet, stating this fact.


Miss Floria Parker, born in Philadelphia, lived in Cincinnati in the late sixties. She contributed poems to local papers and magazines.


Mrs. Cornelia E. Laws was born in College Hill. Upon her marriage in. 1857, she removed to Richmond, Indiana. She composed "The Empty Chair," "Behind the Post," and other poems.


William Henry Venable is one of the best known literary men of Cincinnati. He has, for many years, been prominent in the educational world also. A long list of valuable books is associated with his name. He has written history, essay and verse. Among his best known works are "Beginnings of Literary Culture in the. Ohio Valley," "The Last Flight," poetry, "Cincinnati, a Civic Ode," "A Dream of Empire," a novel, "Tom-Tad," a novel of boy life.


Eugene Frederick Bliss, born in the state of New York, lives in this city. He is the translator and editor of the "Diary of David Zeisburger," author of "In Memory of Elizabeth Haven Appleton," and was contributor and editor of "Tales for a Stormy Night."


Alice Williams Brotherton, born in Indiana, lives in this city, and is author of "Beyond the Veil," "The Sailing of King Olaf," "What the Wind Told to the Treetops," and is a contributor to magazines.


Nathan Gallizier, a native of Germany, now living in this city, is author of "Ignis Fatuus, a Dream of the. Rococo" (in German), "Castel Del Monte," "The Sorceress of Rome," "Lucretia Borgia."


John Uri Lloyd is a Kentuckian by birth and a pharmacist by profession. He is best known to the people as the author of the very remarkable and successful tale, "Stringtown on the Pike." He is also the author 0f "Chemistry of Medicines," "Drugs and Medicines of North America," "Elixirs, Their History and Preparation," "Etidorpha, The End of the Earth," "The Right Side of the Car," "Warwick of the Knobs," "Red Head," "Scroggins."


Philip Van Ness Myers was born in New York state but has lived for many years in Cincinnati. He is author of "Life and Nature Under the Tropics,"


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"Remains of Lost Empires," "Ancient History," "Mediaeval and Modern History," "General History," "Eastern Nations and Greece," "History of Rome," "History of Greece," "Rome, Its Rise and Fall," "The Middle Ages," "The Modern Age." Professor Myers ranks very high and his books are all standard.


Michael Myers Shoemaker, born in Covington, has been a great traveler and is -author of "Eastward, to the .Land of the Morning," "Kingdom of the White Woman," ."Sealed Provinces of the. Tsar," "Island of the Southern Seas," "Quaint Corners of Ancient Empires," "Palaces and Prisons of Mary Queen of Scots," "The Great Siberian Railway," "Heart of the Orient," "Winged Wheels in France," "Wanderings in Ireland."


Frank Bestow Wiborg is author of "Travels of an Unofficial Attache," and "A Commercial Traveler in South America."


George Randolph Chester, whose short stories and volumes of stories have latterly made him one of the best known short story writers in the c0untry, lived for a number of years in Cincinnati. It was while living in this ,city that be became famous and his "Wallingford Tales" obtained their vast vogue.


Mrs. Mary S. Watt's of this city, has made an extensive fame by her powerful books ."Nathan Burke" and "The Legacy." The opinion of critics seems to be that she is a writer to be re.ckoned among the very strongest and best of the time.


Among the writers of :today living in Cincinnati are Dean Harry, of the university, whose new translation of the "Antigone" of Sophocles, recently issued, by the Robert Clarke Company, has attracted the favorable attention of critics. Of it the literary critic of the Times-Star wrote :


"There have been numerous translations into English of the dramas of Sophocles, that cheerful old scholar who. wrote most uncheerful tragedies. There will .doubtless be more, for the. Anglo-Saxon is experimentative—and always desirious of trying his hand again. The translation of Greek into English may be likened to the turning of a beautiful, singing brook into a harsh millrace for utilitarian purposes, yet generation after generation of scholars will probably continue to do it, each improving in some particular on what had gone before.


"The latest scholar to add to the bookshelf in this respect is Joseph E. Harry, professor of Greek in the University Of Cincinnati. He has made into an acting-play the 'Antig0ne' of Sophocles—and has done it well. .Preserving the general traditions that surround such a translation, and approaching it in the spirit of Hegel, who looked upon the 'Antigone' as the 'most perfect of all dramas,' he has injected, not a note of modernity, but a certain red-blooded strength that is curiously effective. If one reads, without looking at the dates, the various translations of this drama, he will hardly mistake Prof. Harry's for Whitelaw's or Plumptree's. The phraseology is none the less dignified, but it breathes a gentle atmosphere of present day handling.


"In :addition to the drama itself, Prof. Harry has presented an analysis and translation of many of the scenes froth 'King Oedipus,' which he considers ,the `best gate to the Antigone' and which will be of value to the reader who desires to avoid consulting encyclopedias to get the beginning of the drama..


As a whole, this translation of the wonderful old play will take rank with the best that have preceded it. In some ways it will prove more likeable f0r he


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has infused into the characters an indefinable spirit of life—as if they were, in fact, living personages, with the hopes, fears and ambitions of human beings, not mere shadows from a mythical past. The publishers have given the volume a pleasing and dignified setting."


As is well known, the famous and brilliant Lafcadio Hearn was identified with Cincinnati for a number of years, in the early part of his literary career.


Among other important writers are Dr. G. J. Bartholomew ; Dr. J. M. Craw. ford, who translated "Kalevala ;" W. C. Cochran, who compiled a Law, Lexicon Wm. Norman Guthrie, poet, essayist and critic ; Elias Longley, author of a series of books on "Phonography ;" Thomas C. Minor, author of "Medicine in the Middle Ages," and other works ; Dr. J. D. Buck, writer on "Psychology and Medicine ;" Judge Moses F. Wilson, writer of law books; Edward L. Anderson, author of "Horsemanship," a book adopted by the German army.


The Hon. J. H. Barret, wrote a notable biography of Lincoln; Dr. James A. Henshall is an authority on Piscatorial subjects ; Miss M. Louise McLaughlin wrote on "China Painting;" Rabbi David Philipson is the author of "The Jew in English Fiction" and other works; Emerson Venable compiled "Poets of Ohio."


While living in Cincinnati, James E. Murdoch wrote "The Stage or Recollections of Acting," and four books on the voice.


J. Ralston Skinner is the author of "Key to the Egyptian Mystery in the Source of Measures."' Donn Piatt was author of "The Life of General Thomas," "Works," in three volumes, poems, essays, plays etc.


The Rev. Francis James Finn, S. J., is the author of notable books for boys. Dr. Frederick Forchheimer is the author of a famous and most successful book on the stomach. Col. John W. Hill, of Wyoming, is an authority on waterworks, supplies, etc.


Parker H. Fillmore is one of the most successful of recent writers of short stories, finding demand in the big magazines for all he can produce. His books of short stories, "The Hickory Limb," "The Young Idea," etc., are very popular.


Margaret Tuttle, Mrs. Frederick Tuttle, is one of the most eminent short story writers of today. Bobbs-Merrill Company is just issuing a volume of her work.


Daniel W. Kittredge is the author of "Memoirs of a Failure," which has been widely commented on. The New York Times Saturday Review declared it remarkable and original and one of the notable books of the year in which it appeared. He is also a contributor of essays and editorials of various magazines and papers.


Miss Mary McMillan is a successful writer of magazine stories.


Dr. Otto Juettner is author of "History of Medicine in Cincinnati" and is editor of a medical magazine.


Jack Appleton is a successful and brilliant writer of stories, and articles.


Miss Sara Haughton is author of three Christmas booklets, "The Christ Child," "The World Doth not Forget," and "Yet Hath the Starry Night Its Bells." She was for several years editor of the Children's Record of the Children's Home, and has been a contributor to several magazines devoted to childrens interests and to several papers.


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Miss Mary E. Thalheimer, secretary of the Young Women's Christian Association and officer of the Woman's Press Club, is the author of a "Manual of Ancient History," a "Manual of Ancient and Mediaeval History," a "History of- England" that was used for years in the public schools, an eclectic history of the United States, and outlines of general history. During a year spent in Europe, she was a regular contributor to a Boston paper and four New York papers.


Miss Florence Wilson was in 1911 in Japan collaborating with Mme. Sugimoto in writing stories of the Japanese and their customs. She writes Japanese articles for American syndicates that sell to one hundred newspapers. In America she lectures on Japan, and in Japan she lectures on America. She also writes poems.


Mrs. Amoretta Fitch is a versatile writer of poems, essays, lectures and character sketches, feature stories and motto cards.


Miss Pearl Carpenter conducts the children's page in a magazine and tells stories at clubs and kindergartens. She is president of the Story Tellers. League and an officer of the National Story_ Tellers League.


Mrs. Gail Donham Sampson writes successful children's stories. Miss Alice A. Folger has published a volume of poems. Miss Anna Rossiter edits a trade journal. Miss Clara Jordan is author of a text book on the study of Latin, that is the standard now in use' in Cincinnati schools. Mrs. James C. Ernst writes articles and recently made her debut as a monologist with success.


Miss Alma S. Fick writes ethical and historical articles and is an authority on literature. Mrs. Frances Gibson writes poems in Scottish as well as in English. Miss Berta Harper is a poet as well as editor of a Sunday School paper. -Miss Catherine Winspeare Moss has written "The Thousand Ledgers" as well as many poems. Miss Margaret Nye is an able. German translator. Miss Martha Allen writes and plays interpretations of the most classical music. Miss Alice Hallam writes on music.


Miss Julie C. O'Hara writes of the unique and unusual things she sees while abroad for newspapers ; Miss Emma Parry shines as a brilliant lecturer on classical subjects ; Mrs. Elizabeth Seat is a writer of stories and also a lecturer ; Mrs. Warren Ritchie. is also a lecturer ; Mrs. Florence Goff Schwartz writes in a humorous vein for a New York magazine ; Mrs. Laura Turpin is a superb illustrator and writer ; Miss Julia Walsh writes poems ; Mrs. Eve Brown is another poetess of note ; Mrs. Wulff is an essayist.


Mrs. Lura Cobb is valued for her special articles; Miss Harriet Baldwin is the editor of The B. & O. S. W. Magazine; Miss Edith Niles has a department in a Cincinnati magazine, while Miss Rachel Butler is a playwright and also writes poems.


Miss Helen Kendrick is an authority on English literature and is also a versatile writer.


Several years ago one of the best known magazines of the country published a Christmas poem, "The Dream," signed by Susie M. Best. The name was unknown to the magazine's readers, some of whom, struck with the beauty of the poem, wrote to inquire of its author. Susie Best, it transpired, was a Cincinnati school teacher, who had been teaching literature and history in the public


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schools for ten years or more. Miss Best is still a teacher, but her work now takes the form of expert story-telling and critical instruction in literary work. Her poems are to be found in many of the best magazines.


Another woman poet is Mrs. Alice Williams Brotherton, whose verses have appeared in recent issues of several standard magazines. Mrs. Brotherton was selected to write an ode in commemoration of the biennial meeting of the Federation of Women's clubs, held in Cincinnati in 1910.


About ten years ago Mrs. Kate Trimble Woolsey, prominent member of a number of Cincinnati women's clubs, came into the limelight of publicity with a book on suffrage, entitled, "Republics versus Women." The book was read widely and commented on because of the radical nature of the views expressed.


Mrs. Martha McClellan Brown won 'distinction as a writer twenty years ago through articles contributed to leading literary and scientific publications. Her name is among the few Cincinnati women mentioned in the current issue of "Who's Who."


Mrs. Virginia Ellard and Miss Celia Doerner are other Cincinnati women writers who have achieved more than local distinction.


While Harriet Beecher Stowe did not write "Uncle Tom's Cabin" during her residence in Cincinnati it was here that she gathered the materials and received the inspiration for the most noted story ever written in America and one. of the most influential tales ever told by a pen. Cincinnati can, however, claim in addition that Mrs. Stowe during her years spent here was a part of the literary life of the community and that here she did produce other writings of importance and brilliancy.


The beginnings of journalism here were naturallyvery small. William Maxwell, who was the second 'postmaster of Cincinnati, established in the' autumn of 1793. a little printing office at the corner of Front and Sycamore streets. There he printed November 9, 1793 the first number of The Centinel of the North-Western Territory. The motto of the paper was "Open to all parties, but influenced by none:" The early issues were of four pages eight and a half inches by ten and a half inches. Increase in size was made in July 1794, and again in September 1795. The Gazette of Lexington had preceded this paper in the west by several years.


Maxwell sold the Centinel to Edmund Freeman in the summer of 1796, who changed the name of the paper to Freeman's Journal. Freeman published the journal until 1800, when he removed to Chillicothe.


The contents of this paper are of curious interest to us who are accustomed to have the news of the whole world served up to us daily. The foreign intelligence, chiefly from France, was many months old. There was some correspondence from the east about American conditions. A few items concerned Cincinnati. A striking part of the paper was the advertisements, such as rewards for deserters from the army, notices of runaway wives whose debts husbands. declared they were not responsible for, notices of runaway slaves, rewards for lost or stolen property, advertisements for sale of lots and land, besides of course advertisements of stores and shops. There were frequent news items :concerning Indians, their doings and depredations.


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The first issue of The Western Spy and Hamilton Gazette was on May 28, 1799. The editor was Joseph Carpenter who came from Massachusetts to Cincinnati. He held several public offices here, served in the War of 1812 under W. H. Harrison, died from exposure in the army and was buried in this city with military honors. The news service had begun to improve, and news from France was served up only two months and a half old, that from London was about the same age, while news from New York was aged about twenty days and that from Washington about a week old. President Jefferson's message to congress sent December 15, 1802, was printed in the Spy January 5, 1803. April 26, 1802, Andrew Jackson of Tennessee advertised a reward of fifty. dollars for the recovery of his negro slave George, escaped from the plantation on the Cumberland river.


Jonathan Findlay was for a time associated with Carpenter on the Spy, which afterward was continued by Joseph Carpenter and. Son. In 1808 the Spy was purchased by a man named Carney, who changed its name to the Whig. After fifty-eight numbers had been issued Carney sold the paper to Francis Menessier who changed the name to The Advertiser, and continued it under that name until 1811, September, 1810, Joseph Carpenter, with Ephraim Morgan, began a reissue of the Western Spy.


December 9, 1804, the Rev. John W. Browne issued the first number of Liberty Hall and Cincinnati Mercury, from the loft of a log cabin at the southeast corner of Sycamore and Third streets. April 12, 1809, Samuel J. Browne, with his father and James H. Looker, formed the firm of Browne and Company.


July 15, 1815, there was issued by Thomas Palmer & Company the first number of the Cincinnati Gazette. December nth of the same year Liberty Hall was consolidated with the Gazette, which for a time was called Liberty Hall and Cincinnati Gazette.


In 1814,. The Spirit of the. West began to be published but only forty-four numbers appeared.


June 1818 the Western Spy appeared as an enlarged. sheet, and the 9th of the following January it was issued under the name of the Western Spy and General Advertiser.


June 23, 1818 appeared the Inquisitor and Cincinnati Advertiser.


November 1819, Joseph Buchanan began the issue of a weekly paper called The Literary Cadet. After twenty three numbers had appeared it assumed the title of The Western Spy and Literary Cadet. This paper was of a literary character rather than a newspaper and the amateur writers of the city made it the medium for the printing of poems and essays.


In January 1823, the owners of the Western Spy changed the name to the National Republican and .Ohio Political Register. With new type and printed on an enlarged scale, this semi-weekly was declared to be the best specimen of the printers' art issued in Southern Ohio.


The Independent Press and Freeman's Advocate, under the management of Sol. Smith, a brilliant and eccentric genius, was issued for sixteen months and was sold in November, 1823 to the Republican.


In 1822, Liberty Hall and the Cincinnati Gazette was issued weekly and semiweekly. The publishers were Morgan, Lodge and Company, Isaac G. Burnet