The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 125

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345

USA > New York > Kings County > Brooklyn > The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II > Part 125

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1154

HISTORY OF KINGS COUNTY.

among them Matilda Heron, 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 first night were $1,956 ; second night, $2,145 ; third night, $2,437. 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. Here, 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, off-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 debts of the " Academy of Design," but to continue the free art-schools. He accordingly got up a concert, which took place February 22nd, 1869. Ole 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. Harriaon to write for her a tragedy. As she had advanced in years, and was conscious 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. Harri- 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 suited to Matilda Heron's wonderful power as a tragic actress. Of Mr. Harrison's creation of Melanthia, Miss Heron writes :

"My dear Mr. Harrison : Your Melanthia is the proudest character ever written for modern woman. It can never fail but through bad management. I know what I am, and what I can do. I have that within me which surpasses all the representa- tions of Camille I ever gave, and which shall yet come out. I say this because 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 you 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 me. 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 " Melanthia " at one of the New York theatres, and she made an effort to do so; but, un- fortunately, all the principal theatres throughout the country were at that time occupied with the " Black Crook," which then had been for over two years drawing immense houses. Miss Heron, however, produced the play at the Olympic Theatre, in St. Louis, with great success; the local press agreeing that the play "abounded with thrilling dramatic situations," and that "Mr. Harrison's classic tragedy of 'Melanthia' furnished just the character that had always been wanted for the great actress when she arrives at middle age." But the people had just emerged from the Civil War: the agonies of tears, and blood, and death. They demanded something to amuse and cheer them. About the time Mr. Harrison retired from the management of the Park Theatre, Dr. Henry R. Stiles, the historian of Brook-

lyn, Alden J. Spooner, Professor Chas. E. Weat, 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 manuscripts of rare value. Among them were & MS. farce by John Philip Kemble, the original part of Sir Peler 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 valuable 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 st the sale of Mr. Burton's effects 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 Mr. 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"-& [sunset; "Solitude"-a moonlight; "A Look Between the Trees"-& noonday. His characteristics as an artist lie in grace of form, harmony of color, and sentiment of composition. Andrew McLean, editor-in-chief of the Brooklyn Eagle, in describing one of his pictures, said :

"Mr. Gabriel Harrison's picture of 'Solitude' ia one thst will undoubtedly attract a great deal of attention. It is & mid- summer night scene. In the foreground stands & clump of tall trees, whose foliage forms a natural frame for a quiet mountsin- lake and a range of distant mountains. The moon, juet rising, throws a band of silver across the lake, and lends & dresmy, uncertain light to the scene. Everything about the picture be- tokena the ponderous stillness and solitude of nature, and this effect is enhanced by the entire 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 tha tragedian ever painted."

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

" ' The Falls of Minnehaha' has been greatly admired amongst our artists. None have been so successful as Mr. Harrison in depicting poetic scenes, and transfusing the poetry and santi- ment of nature. In his 'Falls of Minnehaha,' the harmonies of nature are unbroken hy any element of life or sound, except the cadences of the ' laughing waters, to which the fauns and dryada of the realm-the Indian subjects of Longfellow-might be supposed to be lending a charmed ear. The scene is as poetically placed upon the canvas as the poet has framed it in his immortal verse."

In 1872, Mr. Harrison assisted in organizing the Faust Club of Brooklyn ; he was elected one of the directors, and appointed chairman of the Art and Literary Department. Never doing s thing without a purpose, he soon became the life and soul of tha organization. Through his suggestion and earnest efforts, "Saturday Night Entertainmenta" were given, and monthly ra- ceptions for the wives, daughters, and lady friends of the mam-

1155

BIOGRAPHY OF GABRIEL HARRISON.

hers. 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 WBB 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 » 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 for Payne, the only fitting place for his remains was in Green- wood, or beneath his monument in Prospect Park. When Mr. Corcoran's project became known to the public, Mr. Harrison wrote him, urging that the remains of Payne be placed in Long Island, where he had spent his childhood, and as the only spot which the poet had recognized as his home for the last twenty years of his life, and thus fufill the sentiment of his immortal song. But Mr. Harrison's request was refused. Brooklyn was denied the bones of her dead poet, and the motives of patriotism and philanthropy in removal greatly impaired by the peculiar act of placing his remains where they do not rightfully belong. Not a citizen of Brooklyn was notified when the remains of Payne arrived in New York, but all were left to learn the fact through the newspapers. Amid the throngs of people who visited the City 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."

The New York Express remarked: "To dramatize this story and fit it for the exigencies of the stage, was a task not to be lightly and frivolously undertaken. It was necessary to bring a knowledge of the stage and an experience of dramatic writing combined with ability-qualities that do not often go hand in hand. But it must be seen from Mr. Harrison's work that he possesses the qualities to an eminent degree. His characters are deftly drawn, their attributes admirably expressed, while in dramatic construction and climax the play presents a composition that marks a great stage-success. The character of Hester Prynne, in particular, is drawn with a tenderness, grace, and fidelity that offer unusual advantages for the display of dramatic genius. Every salient feature of the story has been seized upon by Mr. Harrison in a manner that evinces keenness of perception, and the ability to put this perception to the best advantage; and whenever he has introduced words and thoughts of his own, so as to fit the story to the stage, it is almost impossi- ble to tell which is Hawthorne, and which is Harrison. The literary qualities of the play are the same throughout; all is harmonious and symmetrical."

Mr. Harrison had one hundred copies of this drama printed in 1876, but waited two years before placing it upon the stage. In this his friends recognized the true delicacy of the man, in refus- ing to do anything which might seem, even remotely, to profit by the public calamity based upon the Beecher-Tilton affair.

In February, 1878, Mr. Harrison produced his dramatization of Hawthorne's "Scarlet Letter," at Wood's Theatre. His daughter Viola made her debut as Hester Prynne, to her father's Roger Collingworth. The drama drew crowded houses for a whole week. Many had attempted the dramatization of this beautiful novel, but failed to make it a success, even with the gifted Mrs. Lander to embody the characteristics of Hester Prynne. But

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HISTORY OF KINGS COUNTY.

Mr. Harrison presented the play with such dramatic force that every one who witnessed it was hurried along from beginning to end with the most intense interest. He so arranged the dra- matic action and scenic effects that they assisted in leading the mind of the audience into that deep reasoning, and almost enabled it to feel the secret heart-pulses which seem to vivify the leading characters in the wonderful story of the " Scarlet Letter." At the fall of the curtain, a storm of applause brought the dramatist and actor to the footlights to receive the congratu- lations of the audience for his double success.

Mr. Harrison was ever a firm adherent of the school of Edwin Forrest. His affection and regard for the great tragedian knew no bounds, and his audience never failed to be impressed with his faithful study of the mighty model. He became the imper- sonator of the higher class of tragic and romantic characters, and his acting has ever been remarkable for its intensity, enthusiasm and power, united with perfect naturalness. His utterance of the English language is perfect in accentuation and intonation. With a strong musical voice, made flexible by his thorough study of elocution, it is equally capable of the rich, deep notes so indispensable in tragedy, and the smooth, tender qualities that are suited to the expression of love or pathos. In 1845, the mutual admiration of Edwin Forrest and Gabriel Harrison matured into a friendship that lasted unbroken till the hour of the great tragedian's death. A fortnight before the sad event Mr. Forrest invited Mr. Harrison to spend Thanksgiving Day with him at his residence in Philadelphia. It was a day never to be forgotten by the honored guest. From early morning till late at night they were alone, enjoying reminiscences, or ponder- ing over the dramatic lore with which Mr. Forrest's library of 7,000 volumes abounded. Among the literary treasures there was the first folio edition of Shakespeare's works-1623- which seemed almost to make sacred the actor's sanctum, and which had cost him $2,000. They read to each other most of the day. Mr. Harrison laid before Mr. Forest a project which he had contemplated for many years. In 1854, Mr. Harrison had conceived the idea of establishing a Dramatic College, to educate aspirants for the stage, and to encourage dramatic literature. It was partially carried into effect, and the first performance was given at the Brooklyn Museum. The organization lasted about a year, during which time it gave to the public stage Miss Ellen Gray and Messrs. Ringgold, Walton and others. That such an institution, if established, could be sustained, Mr. Harrison had not the slightest doubt ; and as Mr. Forrest was a man of wealth, he laid before him this project to establish a Dramatic College, where students for the stage should be graduated the same as in any other profession, and receive diplomas, which in most cases would secure to the possessor a position according to his ability. Mr. Forrest was so impressed with Mr. Harrison's unique idea that he made an appointment with James Lawson and Mr. James Oakes, his executors, to meet Mr. Harrison in Philadel- phia, that he might explain to them his plans regarding the pro- posed institution. Unfortunately, Mr. Forrest left Philadelphia to read in Boston, and on the second day after his return, De- cember 12th, 1872, he suddenly died. As a matter of course, Mr. Harrison was immediately summoned to Philadelphia, where he acted as a committee to receive those who came from a distance to attend the obsequies. Two nights he sat beside that body from which a great soul had fled, bowed in the grief which only those bereft of such a friend can feel. The fact that Mr. Forrest about a year previous had been bereaved of his only relative, cast a gloom on his last days, and bound him more closely to the friends he valued for other ties than of kindred. He gave to Mr. Harrison many proofs of his affection and esteem. He emphatically pronounced him a man of genius. In a letter to Mr. Harrison, March 8th, 1871, Forrest writes : "I have been quite ill since I came home, and am still suffering from my hereditary gout. In a superficial view of such a case,

what an injustice seems the penalty, that the innocent unborn must suffer for the guilty-but it is an irrevocable natural law.

" ' For just disease to luxury succeeds, And every sin its own avenger breeda.'"

With this interesting letter, he sent to Mr. Harrison hia portrait, stating that he considered it the best of him ever taken. On another occasion, he presented Mr. Harrison a life-size head of himself in the character of King Lear, which had been painted especially for him. A fac-simile letter accompanying this por- trait is published in Lawrence Barrett's life of Forreat. We here give the following letter, which is characteristic of Mr. Forrest :

PHILADELPHIA, September 4, 1871.

GABRIEL HARRISON, Esq.

DEAR SIR,-I should have acknowledged the receipt of your several very kind letters, long since received, but the bereave- ment suffered by the death of my only relative quite unfitted me, even for the daily occupations of life.

I duly received the engraving of Mr. Booth as Iago, and which would have answered quite as well for Romeo.

The photograph of Lear I sent you is rather a portrait of a general quiescent state of lunacy, and not of any paroxysm, or specific revealment of any point in the performance, and ao far, I think it worthy of much commendation.

Next month, when I resume my professional life, I hope to be able to sit for another picture of King Lear, which shall be more pronounced than the one you have. If you could be here at the time, you might greatly assist the pose.

As you expressed a wish to ascertain some facts in the life of John Howard Payne, I asked Mr. James Rees, of this city, to furnish you a brief and reliable biography of him, and which I now take great pleasure to enclose you.

Truly and sincerely yours,

EDWIN FORREST.

While in New York, February 23d, 1871, he wrote to Mr. Harri- son, saying, " If Saturday next should be fine weather, I ahould like to visit with you the studio of the artist whom you think qualified to paint the portrait of Edmund Kean." Mr. Harrison met him according to arrangement, and decided to give the honor of painting the portrait to Victor Nehlig. But as Mr. Forrest died soon after, and his executors declined to act in the matter, the portrait of Kean was not painted. Mr. Forrest prs- sented Mr. Harrison with a picture of Edmund Kean, which he, Forrest, considered the most correct he had ever seen. Mr. Harrison's friendship for Mr. Forrest was not "interred " with the tragedian's "bones." It still lives, and will be perpetuated in W. R. Alger's " Life of Edwin Forrest." Although a personal friend of Forrest, and a man of letters, Alger's vocation in life precluded the possibility of his cultivating any adequate knowl- edge of the dramatic stage. It was, therefore, largely through the devoted and disinterested assistance of Gabriel Harrison that Mr. Alger was able to give a proper estimate of Forrest's genius as an actor. This assistance was not only solicited by Alger, but by James Lawson and James Oakes, Forrest's execu- tors, who realized that no other man had studied so deeply and understood so thoroughly Forrest's artistic merits. In a letter to Mr. Harrison, February 12th, 1875, Mr. Lawson writes: "No one has a fairer insight into Forrest's acting than youraelf. You appreciate him fully, and with an artist's eye. You have drawn him as he is, the tragedian of the age, perhaps of all ages." Mr. Alger wrote from Boston, December 9th, 1874 : " My Dear Mr. Harrison, I suppose you have not yet got the proofs of your essay on Forrest in Brutus. When you have them, I pray you loan them to me for a few days, as you agreed. Any criticisms on the acting of Forrest in his chief rôles, any hints or sugges- tions you will write out for my aid, I will gladly pay. you for liberally." Again he writes, February 25th, 1875, expressing his obligations to Mr. Harrison for his "very suggestive and helpful notes on the Matamora of Forrest. I like them very much, and shall be greatly aided by them. If at any time you feel like scratching off reminiscences and hints on the Gladiator, Damon, William Tell, or any other of the leading roles of Forrest, it will

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The civil, political, professional and ecclesiastical history, and commercial and industrial record of the county of Kings and the city of Brooklyn, N. Y., from 1683 to 1884, Volume II, Part 125

Author: Stiles, Henry Reed, 1832-1909, ed Publication date: 1884 Publisher: New York, W. W. Munsell & Co Number of Pages: 1345

Author: Stiles, Henry Reed, 1832-1909, ed
Publication date: 1884
Publisher: New York, W. W. Munsell & Co
Number of Pages: 1345