USA > New York > New York City > History of New York City : embracing an outline sketch of events from 1609 to 1830, and a full account of its development from 1830 to 1884 Volume II > Part 9
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Between 1835 and 1853 no company of large capital was formed. In the last-named year two $500,000 companies were organized. Others, too, were added, especially from 1859 onward, until in 1853, as already stated, the city of New York has no less than five fire- insurance companies capitalized at $1,000,000, and one at $3,000,000. all of them having large surplus assets, over capital and liabilities, ranging from $728,000 to $1.750,000-the last-named amount being the net surplus of the Home Insurance Company, over its $3,000,000 of capital and all other liabilities whatsoever.
The fires of Portland, Albany, Troy, St. Louis, Chicago, Boston, etc., have, during the past twenty years, made havoc with insurance capital, and either destroyed or crippled New York fire-insurance com- panies by scores, and almost by hundreds. By the Chicago fire, in October, 1871, no less than sixteen New York City companies were absolutely ruined (as well as fifty-two other companies), and six were compelled to repair shattered capitals to the amount of $2,060,000. By the Boston fire of November. 1872, five New York City companies were destroyed (in addition to seventeen companies in Massachusetts and other States), and eight more were the subjects of sympathy by reason of requisitions to supply impairments of capital to the aggregate amount of $766.600.
The insurance department of the State of New York was established by an act of the Legislature passed in April, 1859. At that time there were ninety-four New York and Brooklyn fire-insurance companies, seventy-two of which had been organized within the preceding ten years, the other twenty-two being all that had survived of all the companies formed between the years 1757 and 1850. Of these ninety- four fire-insurance companies alive in 1859, no less than forty-seven (or exactly one half) have meanwhile disappeared from the arena of com- petition, leaving only forty-sevon surviving of those companies whose birth dates back of 1860. Summed up, the showing is that of one
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HISTORY OF NEW YORK CITY.
hundred and twenty-seven fire-insurance companies existing in 1859, or since organized, no less than seventy-one have gone out of sight, fifty-two of them during the past thirteen years. It is to be borne in mind that no account is made, in this respect, of other than New York City and Brooklyn companies. If the failures and withdrawals elsewhere throughout the State were added, the necrology would, of course, be considerably swelled. It is noticeable that of the twenty companies organized during the past twelve years, only five survive, and instead of the ninety-nine New York and Brooklyn companies that had a name to live in 1866, there are in 1883 but fifty-eight to be credited to both cities ; and of these forty-eight are New York City institutions.
Meanwhile the business of fire insurance has become the football of fierce competition between giants, who, in their struggles, bid fair to trample many a weak pigmy into the dust.
CHAPTER III.
TT has been observed that the New York Sketch Club was reorganized in 1841, when it had become well known to the public. At the beginning it assumed a mysterious character, and for a while it puzzled the curious. Its real name, its character, and its membership were concealed from the public, and many were the amusing and wild con- jectures as to its real name and social position. It advertised its meet- ings in the newspapers in this cabalistic manner :
“ S. C .- T. S. C. THURSDAY EVENING, 3, 10."
This meant, " Sketch Club meets at T. S. Cummings's, Thursday even- ing, March 10th."
After the club was first reorganized, in 1830, it was known as the Twenty-one, probably because its membership long consisted of that number. Access to its ranks was quite as difficult, perhaps, as to the French Academy or elevation to the Presidency of the United States.
On the reorganization of the club in 1841 it assumed a higher tone toward art ; yet it was not until three years afterward, when it was again reorganized or "made over," that it became a more purely art and literary association, retaining its pleasant social features. It was really a new association.
It was at a social meeting of artists-Messrs. Chapman, Ingham, Cummings, Durand,# Gray, Morton, Edmonds, Agate, and two or
* Asher Brown Durand, one of the three survivors (1883) of the founders of the National Academy of the Arts of Design, was born August 21, 1796, on the estate where he now lives, near the village of South Orange, in New Jersey. The use of the pencil was his delight even in his infantile years. His father was a repairer of watches, and in his shop this son made his first essays in the art of engraving. Having shown much genius for that art, he was apprenticed in 1812 to Peter Maverick, then a noted engraver on copper. Young Durand was employed chiefly in copying English book illustrations for publishers, and so conspicuous was his ability that at the end of his apprenticeship Maverick made him his business partner.
Durand's genius attracted the attention of Colonel Trumbull, and when the latter was about to make arrangements with Maverick to engrave his picture of the " Declaration of Independence," he expressed the desire that Durand should do the work. This offended Maverick, and he broke up his partnership with his gifted pupil. Durand set
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three others-on the 2d of January, 1844, that it was proposed to organize a sketching club on an improved plan. The idea was warmly approved. Cummings was at once called to the chair : some prelimi- nary action was taken, and it was resolved to call the new society the Artists' Sketching Club. The association was formed. The first sub- scribing members were the artists first named, with the addition of Cole, Mount, Casilear, Shegogue, Baker, Prud'homme, Jones, Gignoux, and a few others. It became one of the most charming clubs in the city, and attracted artists and literary and professional men to its membership and its pleasant meetings.
I remember being a guest at a meeting of the Sketch Club in March, 1847, at the house of General Cummings, at which most of the mem- bers were in attendance -- Messrs. Bryant, Campbell, Colden, Chapman, Cozzens, Cummings, Durand, Edmunds, Leupp, Gray, Huntington, Ingham, Brown, Shegogue, Seymour, Sturges, Verplanck, Gourlie, Nielson, and Morse ; and Gorham Abbott, Elliott, West, and Tappan were guests.
At these meetings the artists and literary men were kept ignorant of the subject that was to engage their attention and genius, until it was announced by the host, when pens and pencils would work vigorously for exactly one hour. At the end of that period every production, artistic or literary, finished or unfinished, was gathered up by the host. These, in groups, were distributed by lot at the close of the year.
On the evening in question the members were seated at a large, well- lighted table, with working materials ready for action. At precisely eight o'clock General Cummings touched a little bell and said, " RAISING THE WIND." This was the first intimation of the subject. It was amusing and amazing to see pictures and poetical or prose sketches appear as if by magic from the brains and fingers of these
up for himself. Trumbull employed him, and he made an admirable picture. It was greatly admired for its faithfulness in drawing and technical execution. He soon pro- duced other engravings of great excellence. His " Ariadne Sleeping," from the painting by Vanderlyn, is regarded as the most perfect specimen of line engraving ever done in America. Critics regard it as equal to anything that Sharp, the famous English engraver, ever did.
Mr. Durand was one of the most active and honored of the founders of the National Academy of the Arts of Design. He was chosen its president on the retirement of l'ro- fessor Morse in 1845, and filled the chair with great dignity and efficiency for seventeen consecutive years. At about the middle of his official career his fellow-artists presented him with a valuable service of plate, as an attestation of their appreciation of him as an artist, a man, and his valuable services to the Academy.
Mr. Durand abandoned engraving as a profession abont 1836, and became a profes- sional painter, in which he excelled. He painted in a very pleasing style the portraits
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gentlemen. Edmonds, I think, sketched a colored boy raising the wind by vigorously blowing a fire with bellows. Another made a Jeremy Diddler raising the wind by stealing a handkerchief from a gentleman's pocket. One of the poetical products of the occasion I am able to recall to memory :
" Raise the wind ! To-morrow raise your sashes, And fickle March will teach you how to do it. He'll smile, then bluster, then in sudden dashes He'll enter with a blast ; how you will rue it !
" So treat your fellow-mortals. Kindest greetings Exchange for coldness now, and then caresses ; Then scornful be at pleasant social meetings ; You'll raise the wind that may disturb your tresses."
At this period the Artists' Sketching Club became the foundation of another organization, upon which has been reared one of the noblest superstructures of æsthetic social life in the city of New York. Late in 1846, John G. Chapman (a resident of Rome, Italy, since 1848), at a meeting of the club proposed the formation of an association of artists and men of letters, with a membership restricted to one hun- dred. The proposition was approved, and a circular letter, signed by John G. Chapman, Asher B. Durand, Charles C. Ingham, A. M. Cozzens, F. W. Edmonds, and Henry T. Tuckerman, was addressed to about one hundred gentlemen of the city distinguished in art and letters, or who were amateurs of letters and the fine arts, inviting them to a meeting in the New York Gallery of Fine Arts in the old Rotunda, in the Park, on January 13, 1847.
This meeting was largely attended. David C. Colden was called to the chair. Mr. Chapman presented a report, with a draft of a consti- tution. A society was organized, and on motion of Edward S. Van
of many distinguished men, but landscape painting was his favorite pursuit, and in this he was most successful. He visited Europe in 1840, but did not remain long from home. With untiring industry he pursned the art of painting, and his beautiful landscape pieces adorn many a private dwelling in the city of New York. He left the city in 1869, and took up his abode on the ancestral estate, near Maplewood station, on the Delaware. Lackawanna and Western Railroad, at the foot of Orange Mountain. It is a beautiful spot. His mansion is spacious and elegant. In the upper story is his studio, wherein hang about one hundred of his landscape studies, and his exquisite copy of Vanderlyn's picture of " Ariadne Sleeping," the size of his engravings. There, too, is the last pro- duction of his brush-a beautiful landscape painted when he was eighty-three years of age. Fifty years ago Dunlap wrote of this beloved artist : "Mr. Durand's character is that of the most perfect truth and simplicity. As a husband, a father, and a citizen, he is without blemish from evil report. He is an honor to the arts, which delight to know him." This is true of his character to-day.
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Winkle it was named THE CENTURY, because of its restricted member- ship to one hundred persons.
A committee of management was appointed, consisting of Gulian C. Verplanck, John L. Stephens, A. B. Durand, J. G. Chapman, David C. Colden, and Charles M. Leupp. Thomas S. Cummings was ap- pointed treasurer, and Daniel Seymour secretary.
The first home of the Century was in rooms at No. 495 Broadway. Like other associations. the club became migratory. From Broadway it went to Broome Street ; then again it was on Broadway ; at a fourth migration we find it in Clinton Place, and there it remained until it took possession of its own house, No. 109 Fifteenth Street, where it still remains, but contemplates another removal.
The Century flourished from the beginning. Its meetings were well attended. A reading-room was provided, and the beginning of a library was established. Many artist members contributed works from their studios to adorn its walls. A journal was read for two or three years, once a month, called the Century. The genial member of to-day, John H. Gourlie, was the senior editor, assisted by the pleasant humorist, the late F. S. Cozzens. It contained contributions from other members, and its contents were largely published in the Knicker- bocker Magazine, edited by Lewis Gaylord Clark. Receptions were given to men eminent in statesmanship, letters, science, and art, and twice a year receptions were extended to the feminine friends of the members. For a while they kept up the old German custom of observ- ing Twelfth Night, and this has recently been revived.
At the end of the second meeting new members were introduced. The following named gentlemen were the first who were admitted by election : Russell H. Nevins, James W. Glass, Charles S. Roe, and Thomas S. Officer .* Its finances have been healthy from the begin- ning.t
* The following are the names of the first members of the Century Club in January. 1847 : William C. Bryant, Rev. H. W. Bellows, Henry K. Brown, J. G. Chapman, A. M. Cozzens, David C. Colden, J. D. Campbell, L. Gaylord Clark, T. S. Cummings, A. B. Durand, Rev. Orville Dewey, F. W. Edmonds, C. L. Elliott, Thomas Addis Emmet, Dudley B. Fuller, Thomas H. Faile, George Folsom, Alban Goldsmith, John H. Gourlie, Henry Peters Gray, Daniel Huntington, Ogden Haggerty, W. J. Hoppin, C. C. Ingham, Gouverneur Kemble, William Kemble, Shepherd Knapp, Robert Kelly, Charles M. Leupp, G. E. Lyon, Christian Mayer, Dr. Macneven, Eleazer Parmly, T. P. Rossiter, Daniel Seymour, Jonathan Sturges, John L. Stephens, Joseph Trent, H. T. Tuckerman, H. P. Tappan, G. C. Verplanck, Edgar S. Van Winkle.
Ten of the forty-two original members of the Century in 1847 were living at the beginning of 1883.
+ " See Origin and History of the Century," by John II. Gourlie.
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SECOND DECADE, 1840-1850.
The Century was incorporated in 1857. In the act Gulian C. Ver- planck, William C. Bryant, Charles M. Leupp, A. B. Durand, John F. Kensett, William Kemble, and William H. Appleton are named as corporators. It was early determined to enlarge the limits of member- ship, and the maximum was fixed at six hundred. That is still the limit, and it is about filled. In August, 1883, the number of members was five hundred and ninety-five. The initiation fee is $100, and the annual dues $36 .*
The utmost care is taken to keep the Century free from even the smallest vices of every kind. It is one of the purest as it is one of the most elevated in moral and intellectual tone among the social institu- tions of the land. It exerts a powerful and salutary influence in the promotion of moral and intellectual cultivation of the highest kind.
" Our club," says Mr. John Durand, in his " Prehistoric Notes of the Century Club," "is made up of members belonging to all guilds. It is an assemblage of men from all parts of Europe, from all sections of our country, and of every profession-artists, literary men, scientists, physicians, officers of the army and navy, members of the bench and bar, engineers, clergymen, representatives of the press, merchants, and men of leisure." +
The Century has from time to time published for private circulation memoirs of some of its distinguished, deceased members. Its dead in 1882 numbered 181.
Late in the second decade the city of New York suffered the inflic- tion of two scourges in one year, dissimilar in character, but both serious. These scourges were the outbreak known as the Astor Place Riot, and the other the cholera. Both events occurred between May and September, 1849.
The Astor Place Riot, in its origin and progress, was a disgrace to
* The club-house on Fifteenth Street has a modest exterior. On the first floor are the reception. wine, dining, and reading rooms, all furnished with hard woods, the walls alorned with pictures, many of them costly, and all the apartments are brilliantly lighted by gas-jets in artistic chandeliers. Ascending a broad stairway, the visitor reaches the second floor, which is occupied by the art gallery, library, writing-room, and a large hall or council-room of the Century. It is believed that the art collections of the Century- paintings, engravings, and statues-are not excelled by any club in the city of New York. The library, which contains fully 5000 volumes, occupies three pleasant rooms, and is rich in reference books on art and literature. In the great hall or council-room the receptions and other entertainments are given.
+ The officers of the Century in 1882 were : Daniel Huntington, president ; Gilbert M. Speir and H. W. Bellows, vice-presidents ; A. R. Macdonough, secretary, and Henry A. Oakley, treasurer.
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HISTORY OF NEW YORK CITY.
human nature, to civilization, and the enlightened city of New York. It grew out of a personal quarrel between two stage-players, Edwin Forrest, an American, and W. C. Macready, an Englishnan. Both were distinguished tragedians, and were rivals for popular favor in the United States and Great Britain. Macready was well known and very popular in the United States, especially in the city of New York, long before the period and the event we are now considering. After an absence in England of about three years he returned to New York in September, 1848, and appeared in tragedy at the Astor Place Opera- House. This building had been erected by subscription the year be- fore, with John Sefton as general manager.
Forrest had been playing in England not long before Macready came to New York, in 1848, where he had gained great renown, and dis- puted with the English tragedian for the prize of supreme popularity. Much unpleasant feeling had been engendered between them, and it was widely reported and generally believed that Macready, on one occasion, visited the theatre in London where Forrest was performing and publicly hissed him. This story created great indignation among the friends of Forrest in his own country, where he was very popular. It was in the face of this indignation, unknown and unsuspected by him, that Macready appeared at the Astor Place Opera-House in the spring of 1$49 to fulfill a farewell engagement with the lessees, Messrs. Niblo and Hackett. Forrest was then performing at Wallack's Broad- way Theatre. Now came the tug of war.
On a bright morning in May, 1849, citizens and strangers in the streets of New York saw on conspicuous placards the announcements that Macready would appear as Macbeth at the Astor Place Opera House and Forrest as Macbeth at the Broadway Theatre, both on the same night.
The placards seemed like mutual declarations of war between Forrest and Macready, for their quarrel and its cause were generally known. There were apprehensions of some disturbances, for this appearance of Macready as an open rival of Forrest on his native soil greatly increased the indignation of the American tragedian's friends against his English rival. With that indignation was mingled the sentiment of hostility to everything British which had been engendered by past conflicts, and which still lingered in the breasts of a vast multitude of the American people. To some, Macready's appearance assumed the shape of a gauntlet of defiance cast by the British at the feet of Americans.
Mr. Niblo, stimulated by the spirit of rivalry, and determined to have a full house, unwisely gave out more tickets than the building
:
,
ann
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SECOND DECADE, 1810-1850.
would hold, and when, before sunset, they were all taken, he was alarmned by a suspicion that the purchasers might be largely enemies of Macready. Ile hastened to the office of Mr. Matsell, the chief of police, and requested the presence of a force in case of any disturbance. It was promised.
More than an hour before the time for the performance to begin an immense crowd had gathered in the street before the Opera-House, and when the portals were unclosed a rushing tide of human beings --- " all sorts and conditions of men"-poured into the house and speedily filled every spot in it excepting the boxes. It was the most extraordi- nary crowd ever seen in an opera-house or a theatre. Some were in their shirt-sleeves, others were in tattered and dirty garments ; some were elegantly dressed, and nearly all were excited. There were evi- dences of preconcerted action, yet the motley crowd remained quite orderly.
The managers watched this strange audience with great anxiety, especially when the crowd began to stamp impatiently for the curtain to rise. Louder and louder became this significant uproar. Niblo, with an attending police officer, looked a moment upon the mass of beings that filled the parquette and amphitheatre.
" Will there be a disturbance ?" asked the manager.
" I think not a serious one," replied the officer. "There will be an attempt to stop the play. The boys have been sent here for that pur- pose, but they appear to be patient and good-natured."
Macready, who had been dressing, now appeared. He, too, looked upon the audience through an opening made by the slightly drawn curtain. He was agitated by doubts and fears. So also was Mrs. Pope. The crowd was silent while the orchestra played, but began stamping more furiously than ever when the music ceased. This was a critical moment. There was a proposition to suspend the play. Macready would not consent. The warning bell tinkled. The drop- curtain slowly rose, and revealed to the astonished eyes of the motley host a magnificent open-air scene. and the three witches performing their weird incantations, while the lightning flashed and the thunder roared. The crowd was awed into silence by the wondrous scene.
Then came in King Duncan and attendants. Mistaking him for Macbeth, the crowd hissed him, but soon perceiving their mistake they were again silent. When Macbeth came he was received with loud . applause from the boxes and dress circle, but his voice was utterly overborne by every kind of tumultuous noise from the crowd before him. The foolish actor became angry, and tried to browbeat the wild
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mass. IIe went through with his part without a word he uttered being heard.
Lady Macbeth (Mrs. Pope) appeared, but she was abused with inde- cent vulgarity and fled from the stage. Macbeth again appeared, and was assailed with addled eggs and other missiles. With genuine Eng- lish pluck he stood his ground until he found his life was in danger, when he too fled behind the curtain, and it fell upon the scene. The roughs had accomplished the task they had been sent to perform, and refraining from doing any damage to property, quietly withdrew. To the utter dishonor of Mr. Forrest, it must be recorded that he did not utter a word of denunciation of this outrage. The impression was universal that he had countenanced if not incited the disgraceful pro- ceedings.
Every high-minded person in the community cried " Shame !" and all felt personally aggrieved by the outrage, which cast disgrace upon the city. When it became known that Macready contemplated throw- ing up his engagement, many of the best men of New York, in every rank of social life, feeling that the city had been dishonored, addressed to him a letter expressing their extreme regret because of the treat- ment he had received, promising him protection in the exercise of his rights, requesting him not to yield to the lawless spirit which had assailed him, and asking him to give the city an opportunity to wipe out the disgrace which had been inflicted upon its character. Mr. Macready yielded, and Thursday, the 10th of May, was fixed upon for his appearance in the same play.
So soon as placards announced the intended reappearance of Mac- ready, others, proclaiming that Forrest would appear in the same play on the same night at the Broadway, were put up alongside them. The following incendiary handbill was also posted all over the town :
" WORKINGMEN ! SHALL AMERICANS OR ENGLISH RULE IN THIS COUNTRY ?
The crew of the British steamers have threatened all Americans who shall dare to appear this night at the ENGLISH ARISTOCRATIC OPERA-HOUSE. WORKINGMEN ! FREEMEN ! STAND UP TO YOUR LAWFUL RIGHTS!"'
There was deep menace and a mob spirit in these words. The friends of Macready prepared to resist the threatened danger. Most anxious to keep Forrest's friends from entering the house, tickets were
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SECOND. DECADE, 1840-1850.
sold or given away by the managers only to those who were known to be friends of Macready. The chief of police agreed to furnish a strong force to preserve order, and two regiments of soldiers were ordered to be under arms that evening and ready to march at a moment's notice.
On the evening of the 10th about three hundred well-instructed police were quietly placed in charge of the Opera-House, outside and in, and an immense crowd had gathered in front of it. When the doors were opened the populace made a rush to enter, but were kept back by the police. When all who had tickets were within, the doors were closed and barred. The windows had been barricaded also with heavy plank. These the mob assailed with stones, and they tried to batter down one of the doors. They were defeated by the police, and in their rage they demolished the street-lamps in the neighborhood. A huge stone hurled through one of the windows shattered the mag- nificent chandelier, and its fragments fell on the frightened occupants of the pit.
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