Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 125

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360

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Mr. Harrison, when quite young, evinced a streng disposition for politics, and was attached to the Democratic party. In 1844, lie was elected tlc president of the White Eagle Club ef Now York, and did much towards the election of Polk and Dallas. In 1848 he, with many other discontented Democrats, went to the Philadelphia Convention, which nominated Lewis Cass for Prest dent; but as this convention adopted a platform tainted with slavery, Mr. Harrison and many of the best Democrats return 1 home, determined not to support it. John Van Buren became the leader of the new party, which organized in strong oppri- tion to the introduction of slavery into the Territories. A meet- ing of the best Democrats was called to take the matter into consideration, and Harrison, Dr. John Gray, and R. A Sandy were sent there to represent the XIVth Ward. At this meeting. Mr. Harrison made a telling speech against the Cans platform. and here he unfurled a banner, on which was inscribed " Frou

PASTEL HARRISON, Content Mora fin. Scarlet Letter

1153

BIOGRAPHY OF GABRIEL HARRISON.

Soil, Free Speech, and Free Men." The words became the motto of the Free Soil party through the campaign of 1848. Mr. Har- rison was one of the delegates to the Utica Convention. He there declared that slavery must be considered a national crime, so long as the District of Columbia recognized and allowed the in- stitution to exist at the Capitol of the nation, which was the case at that time. This was a new thought; the anti-slavery element of the country, and many members of Congress, at once took up the new key-note, and in a short time the institution of slavery was abolished in the District of Columbia. On Mr. Harrison's return from Utica, he was elected president of the "XIVth Ward Free Soil League." He was also appointed chairman of the committee to get up the grand ratification meeting, June 6th, 1848, which took place in the City Hall Park. Mr. Harrison's league was out in full force, bearing a banner, designed and painted by him, emblematic of Liberty cutting the chains from the hands of a slave. During the Rebellion, Mr. Harrison was active on the side of freedom, and made strong speeches in New York and Brooklyn. He has since remained a staunch Republican.

In 1845, Mr. Harrison became a member of the Park Theatre Company, New York, making his first appearance in the char- acter of the Prince, in "Romeo and Juliet," in one of Mr. Chiarles Kean's Shakespearean revivals. He also supported Kean in such characters as the King, in " Hamlet," and he performed this part so much to Mr. Kean's satisfaction that the great actor presented him with a " dress sword." In 1848 he first appeared in Brooklyn Garden, and performed with great success in such characters as St. Pierre, Claude Melnotte, Carwin, Ludovico, Rolla and William Tell; becoming at once such a favorite in Brook- lyn that his friends and admirers induced him to make a per- manent residence among them.

In 1851, he organized the Brooklyn Dramatic Academy, a pri- vate association for the encouragement of the drama in Brook- lyn. For several years the society gave performances to select audiences, at the Brooklyn Museum, with Mr. Harrison gener- ally representing the leading character. Three years later came " hard times," and many of the actors being out of employment, Mr. Harrison engaged the Masonic Hall at Paterson, N. J., con- verted the large rooms into a theatre, and organized a fine com- pany, among whom was the celebrated Lysander Thompson. This company performed for several weeks; but as every one felt the "hard times," it was impossible that any such effort should, at that time, prove a financial success. But the leading citizens, admiring Mr. Harrison as an actor and a gentleman, tendered him a complimentary testimonial, which was given, the result amounting to a handsome sum. But an account of the suffering of the poorer classes of Paterson had reached his ears, and he at once offered the result of his benefit to the Committee of Relief. To his astonish- ment, the money was refused, on the ground that it was "de- rived from a theatre." When this fact became known the press took the matter in hand, and the money was placed in the hands of an independent committee, who purchased flour and coal for the hungry and cold. When Mr. Harrison left the place, several members of the Common Council, with a number of citizens, at- tended him to the depot to bid him good-by. In 1859, he be- came the lessee and manager of the Adelphia Theatre, Troy, N. Y., where, both as manager and actor, he gave the greatest satisfaction. While manager of the theatre, he played a large number of the best stars, and placed his pieces upon the stage with great extravagance of scenic effect. After two seasons of variable success, financially, he was tendered a grand compli- nentary benefit by the leading citizens of Troy, among whom cre General John E. Wool, with his staff, and the Mayor of the city. Evcry seat in the house was sold the day before the per- formance, in which Mr. Harrison appeared in his favorite char- icter of St. Pierre, in the play of "The Wife." General Wool nd staff attended in full uniform, which, with the appropriate

and elegant costumes of the ladies, added brilliancy to the occa- sion. William E. Burton's last engagement was with Mr. Har- rison. Arriving at Troy, Mr. Burton was taken suddenly ill, and in a short time he returned home to die. Mr. Harrison had worked incessantly, and with his artistic taste placed his pieces upon the stage in a style of excellence rarely seen out of the metropolis ; but he discovered that a theatre could not be sus- tained in such a style, and, refusing to carry it on in a less artis- tic manner, closed the theatre, and returned to Brooklyn, much to the regret of the leading citizens of Troy. Alternating and pursuing histrionic and photographic art (for Brooklyn was not then prepared to support a regular theatre), he visibly advanced and improved the state of both, awaiting the time when a theatre could be established upon a permanent basis. In September, 1863, Mr. Harrison, thinking the time had come, opened the Park Theatre, which he named in honor of the old Park Theatre of New York. His management and company were most excel- lent ; but, not satisfied with the success which attended his dra- matic efforts, he organized an English opera troupe. Here he introduced to the lyric stage Messrs. Castle and Campbell and others, with Theodore Thomas as conductor. The first opera given, the " Bohemian Girl," was a decided success. Mr. Fry, the famous musical critic of the New York Tribune, gave frequent columns of laudation to the effort of Mr. Harrison to foster the English opera, and to sustain by American musical talent ; but the enormous expenses of the companies and the season of the opera coming in contact with the Lenten season, caused greatly reduced houses and brought financial ruin to Mr. Harrison after giving ten months of hard work to the enterprise. The upright, generous and manly course of Mr. Harrison's whole life had won him hosts of friends, and several gentlemen offered him means to continue his work; but, rather than risk the money of others in his own speculations, he refused the proffered loans and closed his theatre. ' During his management of the Park Theatre, he appeared for twenty-one consecutive nights, rendering only four different characters ; every night the house being crowded to overflowing. The New York World of November 23rd, 1862, contained the following :

Brooklyn people are justly congratulating themselves upon the reappearance of Mr. Gabriel Harrison on the boards of his cosy and admirably conducted theatre, the Park. Mr. Harrison is remembered by many as the talanted actor who shone at the New Park Theatre, New York, when that was the leading establish- ment of the country. He resumed his dramatic duties last week, appearing as St. Pierre in Sheridan Knowles' play of " The Wife." Mr. Harrison is a well-read man, of sound taste, and possesses a fine appreciation of stage-art. He has a capital presence, enunciates fluently, and furnishes throughout excellent render- ing of his text. His action is animated, easy, and natural, and in some scenes surprisingly fine. There is taste and gentlemanli- ness in all that he does. He afforded an impersonation artistic in detail, and just in conception. Later in the week, hc essayed Claude Melnotte in the " Lady of Lyons," and with the same marked success.

The entire press of New York and Brooklyn spoke in unquali- fied praise of Mr. Harrison's ability both as an actor and a manager. His genins for the work was undoubted, and never was a man more industrious. He labored till broken in health with the continued mental and physical strain, when he was compelled to retire from his profession, to which, be it regret- fully said, he never fully returned. In 1864, a number of gentle- men tendered him a testimonial at the Brooklyn Academy of Music, and many favorite artists offered him their services. The play selected for the occasion was Shakespeare's comedy of the " Twelfth Night," and as the day selected for the performance fell on the 300th anniversary of the great poct's birth, Mr. Har- rison decided to celebrate the event by a grand Shakespearean tableau, which he arranged with over one hundred characters. The occasion was a great success. Several times after this, Mr. Harrison became the lessee and manager of the Brooklyn Acad- emy of Music, and here many of the best stars performed,

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HISTORY OF KINGS COUNTY.

among them Matilda Ileron, William Florence, Charles Dillon and Mrs. Waller. Under his management, at this time, Miss Kate Bateman performed for three consecutive nights, to the largest audiences that ever filled the Academy on a dramatic occasion. Mr. Harrison paid Miss Bateman $500 a . night, and employed the same company that had supported her at Niblo's Garden. This increased his expenses to $1,200 for each perform- ance. The receipts of the tirst night wero $1,956 : second night, $2,145 ; third night, $2,137. Total, $6,538, leaving Mr. Harrison a profit of $2,938.

In 1867, he was elected a member of the Brooklyn Academy of Design, and soon after became its corresponding secretary. Ilere, as in everything else, he was the enthusiast, and did everything in his power to support the free art-schools of the institution ; and, indeed, through his exertions, the life of the society was prolonged several years. On one occasion, the presi- dent called a meeting and offered a resolution in regard to discontinuing the academy, as the members felt they could no longer maintain out of their own pockets the cost of teaching over two hundred pupils. Mr. Harrison opposed the movement, and in an eloquent, ot-hand speech-the style for which he is famous - induced them to desist, promising that he would raise the money, not only to pay off the dobts of the " Academy of Design," but to continue the free art-schools. Ile accordingly got up a coneert, which took place February 22nd, 1869. Olo Bull, S. B. Mills, Madame Staats and others volunteered their services, and the concert yielded over $900, enough to pay off the debts and continue the free art-schools through two winters.

In 1866, Miss Matilda Heron induced Mr. Harrison to write for her a tragedy. As she had advanced in years, and was conscions that she was outgrowing the graces of her girlish figure, and could, therefore, no longer appear as any of the dramatic heroines should, she desired a play containing a matronly character, which, would suit her years and rather large figure. Mr. Ilarri- son undertook the task, and was successful to the entire satis- faction of the great actress. The title of his tragedy is " Melan- thia," a Greek matron, who, Virginius-like, held her daughter's honor as a sacred trust. The character is grand in conception, and was admirably snited to Matilda Heron's wonderful power as a tragic actress. Of MIr. Harrison's creation of Melanthia, Miss Heron writes :

"My dear Mr. Harrison : Your Melanthia is the prondest character ever written for modern woman. It can never fail bnt through bad management. I know what I am, and what I ean do. I have that within me which surpasses all the representa- tions of Cumille I ever gave, and which shall yet come out. I say this beenuso it is no paltry adaptation of a novel. I am speaking of a great and glorious gem that cannot perish, but which will shine when you and I and the managers shall be at peace. See Mr. Palmer, manager of Niblo's Theatre, or whom yon please about this subject. I ask no favors, convinced that, if I am only tolerably equal to the sublime task of personating your Melanthia, I shall be paying them a tribute of distinc- tion that they have not in their power to repay ine. In New York I shall play this play only on condition that you have the entire management of it."

It was Miss Heron's wish to produce " Mclanthia " at one of the New York theatres, and she made an effort to do so; but, In- fortunately, alf the principal theatres throughout the country were nt that time occupied with tho " Black ('rook," which then had been for over two years drawing immense honses. Miss Heron, however, produced the phy at the Olympic Theatre, in St. Louis, with great success; the loeal press agreeing that the play " abounded with thrilling dramatie situations," and that "Mr. Harrison's classic tragedy of 'Melanthia ' furnished just the character that had always been wanted for tho great actress when she arrives at middle age." But the people had just emerged from the Civil War: the ngonies of tears, and blood, and death. They demanded something to amuse and cheer them. Abont the time Mr. Harrison retired from the management of the I'nrk Theatre, Dr. Henry R. Stiles, the historian of Brook.

lyn, Alden J. Spooner, Professor Chas. E. West, Henry C. Murphy, John Winslow, and others, were organizing the Long Island Historical Society. Mr. Harrison was one of the first to respond to this movement, and presented to the Long Island Historical Society a dramatic library consisting of over one thousand plays and several mannscripts of rare valne. Among them were a MS. farce by John Philip Kemble, the original part of Sir Peter Teazle in the handwriting of Sheridan, and many rare dramatic publications, dating back to 1650, together with old play-bills of Hallam's first performances in the city of New York in 1752. He gave also a valnable bust of Shakespeare, one of the three fac-similes made from the bust that stands over the grave of the im- mortal bard at Avon. This originally belonged to John Philip Kemble, and was purchased by William E. Burton, who brought it to this country. It was purchased by Gabriel Harrison at the sale of Mr. Burton's effeets in 1860. Mr. Harrison also gave the Historical Society a water-color portrait of Edgar A. Poe, with whom he had been well acquainted. This picture he colored under the observation of Mrs. Clemm, Poe's mother-in-law, who pronounced it the best picture of the great poet extant, and, in gratitude, presented Mr. Harrison with Poe's wedding ring. This ring was most highly prized by MIr. Harrison, but, with over-liberality, he gave this also to the Long Island Historical Society. While in the hands of its original founders, these valu- able historical gifts were appreciated and cherished, and the donor's generosity recognized by his election to a life-member- ship. But, in the after years of its management, the Society failed to appreciate these valuable gifts, as they seem to have vanished from the shelves of the library.

During Mr. Harrison's industrious life, he has continued to devote his attention to landscape-painting, and produced many artistic and some notable pictures. Among these were the original pictures entitled "The Swallows' Roost"-a sunset; "Solitude"-a moonlight; "A Look Between the Trees" a noonday. His characteristics as an artist lie in grace of form, harmony of color, and sentiment of composition. Andrew MeLean, editor-in-chief of the Brooklyn Eagle, in describing one of his pictures, said :

"Mr. Gabriel Harrison's picturo of 'Solitude' is one that will undoubtedly attract a great deal of attention. It is a mid- summer night scene. In the foreground stands a clump of tall trees, whose foliage forms a natural frame for a quiet mountain- lake and a range of distant mountains. The moon, just rising, throws a band of silver across the lake, and lends a dreamy, uneertain light to the scene. Everything about the picture be- tokens tho ponderous stillness and solitude of nature, and this effect is enhanced by the entiro absence of animal life. The work is, in fact, a poem on 'Solitude' in color, and it im- presses the theme more forcibly upon the mind than any words are capable of portraying it.

Mr. Harrison also painted a picture of Edwin Forrest as Corio. lanus, which was purchased by Mr. Morell, of New York, and is said to be the most accurate and characteristic portrait of the tragedian ever painted."

Mr. Alden J. Spooner, another critic, writes :

" "The Falls of Minnehaha' has boen greatly admired amongst our artists. Nono have been so successful as Mr. Harrison in depicting poetic seenes, and transfusing the poetry and senti- ment of nature. In his ' Falls of Minnehaha,' the harmonies of naturo are unbroken by any element of life or sound, except the cadenees of the 'langhing waters, to which the fauns and dryads of the realm - tho Indian subjects of Longfellow might be supposed to be lending a charmed car. The scene is As poetically plneed upon tho canvas as the poet has framed it in his immortal verse."

In 1872, Mr. Harrison assistod in organizing the Fust Chelof Brooklyn ; he was electod ono of the directors, and appointed chairman of tho Art and Literary Department. Never doing a thing withont a purpose, he soon became the life and soul of the organization. Through his suggestion and earnest efforta, "Saturday Night Entertainments" were given, and monthly re- ceptions for the wives, daughters, and lady friends of the mem-

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BIOGRAPHY OF GABRIEL HARRISON.

bers. On these occasions paintings were exhibited, music and recitations were introduced, and also the reading of original papers in prose and poetry ; all of which proved a powerful "agent in promoting taste for art and literature. It was here, on one Saturday night, that Mr. Harrison read a paper on John Howard Payne, the author of "Home, Sweet Home," and one of the best American dramatists. At the conclusion of his paper, he appealed to the members to do something for Payne's mem- ory. They responded to his suggestions ; and, by a series of dramatic performances, suggested by Mr. Harrison, and given at the Academy of Music, and by the sale of paintings contri- buted by Mr. Harrison and other artists, which were sold from the parlors of the Faust Club, they realized thirty-one hundred dollars. This amount paid for a fine bronze bust of Payne. It was erected in Prospect Park, and unveiled in the presence of 25,000 people; who, with 500 school children, joined in the chorus of "Home, Sweet Home." One year later he published The Life and Writings of John Howard Payne, an octavo volume of four hundred pages. gotten up in the most exquisite style. The book is a valuable addition to American biography, as well as one of the finest specimens of American typography. The leading papers of New York and Brooklyn and other cities gave the book most favorable notice. In the Aldine appeared the following critique :

"It could not be otherwise than that such a man as Mr. Har- rison should have supplemented the noble bust of Payne in Prospect Park with an appreciative biography, and should have done his work with ardor and with excellent judgment. With the admiration that Mr. Harrison always has for what is really good, there might be a fear that the biography might tend too much to eulogy, and perhaps destroy the mission of the work by over-coloring, But let it be said that this temptation has been marvellously resisted by Mr. Harrison, whose admiration for his subject, if at all times evident, is never obtrusive, and never finds expression

beyond what may be easily received. In the main, while confessedly admiring, and somewhat in the form of a tribute, it bears the impress of being closely restrained, well considered, and intrinsically just."

AMOS G. TORRY, in the Brooklyn Sunday Review, August 1st, 1878, says : "The life and writings of John Howard Payne, by Mr. Gabriel Harrison, is a work wholly characteristic of the author. We find the work delightful by contrast with the stereotyped biography of the day-a fresh, candid and artless recital of the triumphs and failures of a man iuto whose web of life was woven more of the gray than gold, more of sorrow than joy. A glorious boyhood, a young manhood radiant with promise, a prime of disappointment, and a defeated decline ; it was of these that Mr. Harrison had to tell, and most faithfully has he painted them all. He has achieved a most undeniable success. The subject fitted the biographer. We know of no other man so competent to understand and appreciate Payne as this same great-hearted, unselfish, honorable gentleman as Gabriel Harrison."

These efforts of Mr. Harrison so aroused public sentiment, both at home and abroad, in regard to Payne, that measures were at once taken by our government to restore his neglected grave at Tunis, and finally led to the removal of his remains to America, by Mr. Corcoran, of Washington. Considering what Brooklyn, through Mr. Harrison and the Faust Club, had done or Payne, the only fitting place for his remains was in Green- wood, or beneath his monument in Prospect Park. When Mr. Porcoran's project became known to the public, Mr. Harrison wrote him, urging that the remains of Payne be placed in Long sland, where he had spent his childhood, and as the only spot which the poet had recognized as his home for the last twenty ears of his life, and thus fufill the sentiment of his immortal ong. But Mr. Harrison's request was refused. Brooklyn was lenied the bones of her dead poet, and the motives of patriotism nd philanthropy in removal greatly impaired by the peculiar ct of placing his remains where they do not rightfully belong. Tot a citizen of Brooklyn was notified when the remains of Payne rrived in New York, but all were left to learn the fact through he newspapers. Amid the throngs of people who visited the ity Hall, New York, where the remains lay in state, was an

elderly gentleman, who paused before the casket, and placed thereon an elegant wreath of immortelles, bearing the words " From a Friend." It was Gabriel Harrison. On the 6th of June, the funeral took place with great pomp at Oak Hill Cemetery, West Washington, the burying-ground in which Mr. Corcoran had selected a spot for the last resting-place of Payne. Mr. Harrison attended the obsequies as one of the pall-bearers, and must have been impressed with the important results which had been brought about by his efforts in the Faust Club and through the agency of his pen.

One of the most notable productions of the centennial year was Mr. Harrison's dramatization of Hawthorne's " Scarlet Letter." "A potent charm of the drama is its faithful portraiture of the Puritan severity and simplicity of the time indicated." In the dramatization of this famous romance, Mr. Harrison has con- structed a powerful drama without sacrificing any of the lead- ing characteristics of the original. AMOS G. TORRY, in the Brooklyn Review, says:

"Brooklyn possesses at least one citizen of whom she may speak with unalloyed satisfaction, if not with absolute pride. He is the most modest of men, and whenever he comes to the surface of affairs at all, he always brings in his hand a real benefaction. He gave to Brooklyn her first permanent theatre; he planted in Prospect Park the grand memorial bronze which has made the features of the author of ' Home, Sweet Home,' almost as familiar to us all as the plaintive song itself; and not satisfied with that noble tribute to unrecognized genius, he wrote out the wonder- ful history of Howard Payne, and embalmed it by means of ' the art preservative of art.' Always incurring large risks and ruinous outlays for the betterment of his fellow-men, good Gabriel Harrison has steadily impoverished himself for the enrichment of the world he lives in, and of Brooklyn first of all. And now we are invited to inspect still another Harrisonian contribution to the art-force of our time, a beautiful dramatization of Hawthorne's unfading 'Scarlet Letter.' I have read the drama through twice-first, with an eye to its dramatic claims, and lastly in a sharply critical mood, on the look-out for some flaw into which to thrust an epigrammatic snarl, or a jaundiced interjection. And here am I now gazing somewhat pluvially and abstractedly at the ' tail-piece' which spells ' Finis,' with my few remaining locks standing half on end! in the entire absorption of my 'inner consciousness,' and by the cold chills that creep up and down my spine as I read again the speeches of ' Hester' and 'Dimmes- dale,' I am warned that I am standing covered in the presence of genius."

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Civil, political, professional and ecclesiastical history, and commercial and industrial record of the County of Kings and the City of Brooklyn, N. Y., Part 125

Author: Stiles, Henry Reed, 1832-1909. Publication date: 1884 Publisher: New York : Munsell Number of Pages: 1360

Author: Stiles, Henry Reed, 1832-1909.
Publication date: 1884
Publisher: New York : Munsell
Number of Pages: 1360