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 126

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 126

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1157

BIOGRAPHY OF GABRIEL HARRISON.

be a grest favor. Come over some Sunday morning to my church, and then stop and dine with me, and talk to me of For- rest, of acting, and of the Theatre of Art." Mr. Alger had re- ferred to Edwin Forrest's acting as "melodramatic." Mr. Harri- son, writing to Mr. Alger in protest against this epithet, gives his estimate thus: " Are the wonderful figures of Michael Angelo melodramatic because they are so strongly outlined ? Is Niagara unnatural and full of trick, because it is mighty and thunders Bo in its fall? When I looked at it, its sublimity made me feel as if I were looking God in the face; and I never thought that God wsa melodramatic. I have seen Forrest more than four hundred times. I have sat at his feet as a pupil-artist learning of & msster-artist. In all his chief rôles, I have studied him with the most esrnest carefulness, from his tout ensemble to the minu- test particulars of look, tone, posture, and motion. I say, without doubt, he was the most honest, finished and powerful actor that ever lived. Whenever I saw him act, I used to feel with exulta- tion how perfectly grand God had made him. How grand a form ! how grand a mind ! how grand a heart ! how grand a voice ! how grand a flood of passion, sweeping all these to their mark in perfect unison! My memory of him is so worshipful and affectionate, and so full of regret that I can see him no more, that my tears are blotting the leaf on which I write." The above passage Mr. Alger has quoted in his life of Forrest. Gabriel Harrison received a letter from James Lawson, April 13th, 1875, which contained the following: "About Mr. Alger's progress, I am afraid he has done little or nothing since he accepted the church in New York. I shall be delighted to see your articles on Othello and Lear. I don't know of any man living so capable af doing justice to our departed friend. Your knowledge and taste in art is difficult to please. You want perfection to which few sttain."

In the critical essays on Forrest's rendering of character in Alger's Life of Edwin Forrest, Mr. Harrison's hand is conspicuous, and where his words are used the sentences sparkle with his enthusiasm. Lawson was perfectly aware of the great service Harrison had rendered Alger in the Life of Forrest, and writes, February, 1875 : "You have done Forrest good. But for you he would not have been placed in the elevated position he so truly merits. Your article on Matamora came to hand this morning. It came near to my heart. It touched me deeply. I think as I read your words that I see the old fellow in all his grandeur. The latter part of the article especially is truly pa- thetid. It went to my very soul. It is sweetly poetic, that passage particularly: ' The sweetest music lies in the strings of the harp, awaiting the touch of its master to express its mel- ody.' Alger must appreciate what you have done, and if he nses, ss he ought to do, your own words, your beautiful portrait of Matamora will add to his fame, and enhance the interest and value of his book. I have better hopes than ever that the life of Forrest will be a success. Thanks to Gabriel Harrison with all my heart." On the first anniversary after Forrest's death, a company of gentlemen met in New York and organized "THE FORREST CLUB," of which Gabriel Harrison was elected corre- sponding secretary. After many eulogies had been paid to For- rest, Mr. Harrison said :

"Gentlemen, however well the world may know Mr. Forrest as an actor, it knows comparatively nothing of him as a man. A kinder heart never beat in the bosom of a human being. In the finer sympathies of our nature, he was more like a child than one who had felt an undue share of the buffets of ingratitude. When speaking to him of the trouble of others, I have often seen his eyes suffuse with tears. The beggar never knocked at his door and went away unladen. Many is the charity that fell from his manly hand, and the relieved knew not whence it came. And I may ssy with conscientious pride, that, however much any of the great actors may have done for their national stage, Mr. Forrest, equal to any of them, has done as much for the theatre of his country, and will remain a recognized peer of the highest in the everlasting group. The longer I allude to the tragedian the stronger becomes the sadness that pervades my feelings, to think that he is no more, and that the mundane existence of the

gifts nature had so liberally bestowed upon him, had to cease with the cessation of his pulses."

In 1860 John H. Gion, for many years connected with the press, and the manager of Miss Matilda Heron, wrote a letter to Mr. Harrison urging him to continue in his profession. He says:

"I have had you constantly in my mind, and sincerely regret that you have not been enabled to take the steps for a series of successes that, I feel assured, wait you in a brilliant career in the profession for which you are by nature so peculiarly adapted. I have seen enough of you, both on and off the stage, to know that there are many with but a moiety of your ability on the high road to fame and fortune. You possess rare genius, and talent withal, to which I may add an admirable conception, suffi- cient education, and a most capital stage voice. What more do you need? Is it wrong that flowers should bloom unseen, or that diamonds should be buried in the ocean's depths ?"

Such is the esteem in which Mr. Harrison's genius and talents are held by all who really know him. His wonderful knowledge of the great "bygones," his discriminating discernment of char- acter, his interest in current events, his artistic and literary tastes, his noble and generous impulses, the magnetic power of his voice and manner, together with the pre-eminent purity of his character, have inspired in many hearts warm sympathy, rever- ence and affection.

If Mr. Harrison did not constantly pursue the profession of the stage, which was the first choice of his life and ambition, it was because adverse circumstances prevented it. He never failed as an actor. Every character he performed was a success in his hands. His magnetic influence over his audience at once made them his, and gained their admiration. It can be said of him, as it is said of Fanny Kemble, that, had he devoted his whole life to the dramatic art, he would have stood one in the group of actors who have made the drama a glorious institution. After a lingering nervous prostration of seven years, brought on by overwork, he gradually became a teacher of elocution and acting. As such, Mr. Harrison is unique and unrivaled. No master in art stands in truer relations to his pupils. Measuring their abilities with due appreciation, impressing them with the justness of his criticisms, and understanding perfectly the anat- omy of the vocal organs, and the means to produce the happiest efforts, he obtains from his pupils the highest possible results.

Mr. Harrison has contributed many graceful poems to the public press. The following poem, entitled "Morning," was ex- tensively reprinted, and much praised for its construction of measure :

MORNING.

BY GABRIEL HARRISON.

The azure gates of morn unbar, Where light awakes from sleep, And greet the sun, while fades ths star, In morning light so sweet. Fairies, Spirits, Angels,

Arouse the birds from rest ! And let their song salute the morn While light creeps o'er the nest.

O light of day, thou glorious day ! But touch the heautsons flowers That lie in wait the liveloug night, To scent the sunny hours. Fairies, Spizits, Angels,

The little buds unfold, Expand their leaves, their colored leaves, The white, the blue, and gold.

Thou glorious sun, refulgent sun ! Illums the hill, and warm the dell, And touch the brooklets as they run, Or waves to mountains swell. Fairies, Spirits, Angels,

Now chant your praise to Him Who made the sun, the glorious sun, And taught the birds to sing !

Your friend Chacstorrs

1159

BIOGRAPHY OF CHARLES STORRS, ESQ.

which attended his undertaking of this task, he performed the difficult work with skill, tact and success, and entirely without compensation."

In his political and religious opinions, Mr. Storrs is both con- servative and progressive. At a meeting held at the Cooper In- stitute, in the autumn of 1873, by the religious rationalists, of whom the Rev. O. B. Frothingham was then the leading spirit, Mr. Storrs was invited to preside, and accepted the invitation on the "Broad Church " principle, which he thus stated : "It is, perhaps, but right that I should state that I belong to an ortho- dox church and have no intention of leaving it. Early asso- cistions and circumstances may have thrown us into different churches; being there, let us not be restive or too hasty to change. As we are impressed and permitted to see the light, we may be enabled to enlighten others. Churches have changed or modified their creeds and views in times past, and doubtless will again. I see no valid reason why I should not be open to conviction and hear all truth, that removes ignorance and super- stition, stimulates charity and good works, and tends to a better life, from whatever source it may come."

If he has a creed, it is this : a pure life and good works. At the same time no man takes a greater interest in the good work done by churches than he does. The Congregational church in his native town has been largely provided for by him. He has also given the town a large cemetery, and has added a fund under trustees for keeping it in good order. He has erected in this cemetery two granite monuments for his father's family and his own, as well as several others elsewhere in the town to the mem- ory of his early ancestors, especially one to Samuel Storrs, the above-mentioned founder of the American branch of the family.

The private benevolences of Mr. Storrs have not blunted the keen edge of his public spirit. In October, 1877, the New York World stated that the Khedive of Egypt would give an obelisk to this country if properly applied for.

Mr. Storrs immediately wrote to the New York Tribune asking it to second the World's effort to obtain the obelisk, and offering to bear one-fiftieth part of the expense of its removal and proper erection in New York. The Tribune commended his proposition, as did other New York papers. This, I believe, was the first public offer made for obtaining the obelisk, which now adorns Central Park.

In connection with his brother, Augustus Storrs, he, some years sgo, presented to the State of Connecticut the land and buildings and sn endowment fund to establish and maintain

the Storrs Agricultural School at Mansfield. Having experienced the intellectual privations too commonly incident to farm life, the younger brother Charles determined that when he was ready to help his fellow men he would make it bis duty to establish an agricultural school for those who should desire and purpose to fit themselves for agricultural pursuits. One of the provisions of the Storrs School is, that in addition to the teaching and training of pupils to the practice and business of farming, they should also be taught the elements of botany, chemistry, geology and other sciences as applied to agriculture, thus ennobling and elevating the latter calling, and lifting up those who are to pursue it.

According to his opportunities and the bigness of his heart, Charles Storrs has sought to do good to all men and to make his circle of fellow creatures happier and better. His nature attracts others, invites their trust, and never belies the impression of downright honesty and kindness which it first creates. Active in his ways, full of interest in the people and events around him, the dark complexion, the hair and whiskers tinged with gray, the kindly humor which is the most habitual expression on the face, and above all the humane trustfulness 'and good fellowship of the eyes, enable us to create from imagination a complete picture of what be must have been as a boy-careless of appearance, unconscious alike of his own defects and merits in style, or, rather, unconscious of the existence of style or man- ner in externals, eager for fresh adventure, ready to do a good turn for any " other fellow," going straight to the heart and kernel of things, and knowing no such word as fail. He delights in the feeling which the Latin dramatist expressed when he said, "I am a man, and nothing that touches humanity is indifferent to me."

The frankness and sociability of bis character, his perfect can- dor and straightforwardness, have attracted others to him, whose regard he has cherished but did not seek. Among strangers in a room, one who doesn't know him picks him out at once by his looks and manners as what Dr. Johnson would have called " a clubable man." The secret of this attraction is homely humanity in opposition to formality and self-environment. Those who have been much with him and have known him in the unrestrained sociability of his home, must have been struck with his youthful elasticity of mind and ways. When one looks into his merry eye the secret is out. Charles Storrs can never be old in heart, for charity and goodwill to all the world, renew his youth continually.

1160

HISTORY OF KINGS COUNTY.

ALITTLE PHIL A

Aug. Youngh

A UGUSTUS YOUNG, one of the best-known portrait and historical painters of Brooklyn, was born of German parent- age in New York, July 8th, 1837. Early in boyhood he evinced much talent for drawing and painting, and so eager did he grow to become an artist that his parents permitted him to leave school at the age of thirteen and become a pupil of J. B. Stearns, N. A., who at that time had his studio in the old American Art Union build- ing on Broadway, New York, and was regarded as one of the most eminent historical and portrait painters of the time. Charles L. Elliott, Ferdinand Boyle, F. E. Church, E. H. May and other eminent painters had studios in the same building, and with all of them Mr. Young had unrestrained intercourse. Under the able tuition of Mr. Stearns, and with many valuable suggestions from other artists named, Mr. Young soon acquired considerable proficiency in the rudimental parts of drawing and painting in oil.

In 1851 Mr. Young entered the Academy of Design, and was a pupil there long enough to pass through the antique and life classes. In 1852 he entered the studio of Thoodore Kaufman, a well-known historical painter of Dresden, Germany, who had at that time established himself in New York, under whose teaching he acquired a knowledge of anatomy, sketching from nature, figure painting, and composition in historical painting. About this time his father died, and he was left to the care of his aged mother, who had from the first taken a great interest in his aspi- rations and essays in an artistic way. Yielding to his importu-

nities, and under the advice of his tutor, Mr. Kaufman, she consented to his going to Europe, there to prosecute his studies more advantageously than he could have done in New York. He was abroad three years, passing through the antique, life-paint- ing and composition classes of the Royal Academy of Munich, where he composed several historical subjects which he executed after his return to America; among them " The Battle of Lützen," "The Death of Gustavus Adolphus," " King Alfred in the Dan- ish Camp," " The Death of Tecumseh, " and several other equally interesting subjects.

Before completing his studies in Munich, Mr. Young entered the studio of Professor Graefli, of Paris, one of the best portrait painters then in Europe, whose studio in Munich was frequented by the nobility, and under whose tuition he acquired the bril- liant flesh tints for which his portraits have hecome noted. A brief sojourn in Paris, where he occupied himself chiefly in a study of the old masters in the Louvre collection, closed his European studies. Soon after his return to New York he studied water-color painting under J. B. Wandesforde, a celebrated Eng- lish water-color painter. The addition of this to his many other artistic accomplishments of a high order, rendered him one of the most versatile artists in America; and having concluded to devote himself to portrait painting as a specialty, his knowledge of composition made it possible for him to add the scenic effects for which his work has become distinctively noted. He soon introduced an original style of portrait, in which the work is

1161

MUSIC IN THE PUBLIC SCHOOLS OF BROOKLYN.

penciled with colored crayons on a water-color groundwork, and which have become in great demand on account of their life-like sppesrance and high artistic finish.

Brooklyn hss claimed Mr. Young as a citizen since 1860, when he removed from New York. Soon after he became domiciled in this city he began a large historical work of great local in- terest, the subject being "The Retreat of Washington from Long Island." This painting, on which Mr. Young lavished his great- est skill both in its design and execution, was one calculated to sttract much more than a passing interest. It was nearly half completed when it was destroyed by an unfortunate accident, which left to the disappointed artist only the studies upon which it was based. He afterward painted " The Cavalier," " The Toy," and "The Execution of Mary, Queen of Scots," and other sub-

jects of historical and artistic merit. He was an earnest sup- porter of the Brooklyn Art Association during the early portion of its career ; and his contributions to its exhibitions, and his portraits of many of the most distinguished men and women of Brooklyn, among them those of General B. F. Tracy, Excise Com- missioner Richard Lauer, the late Lieut-Col. Charles Schurig, and General James Jourdan, have won for him a high reputa- tion. His studio at No. 173 Bergen street is frequented and patronized by numerous people high in business, professional, political and social circles, who find him most conveniently located in his own house, where he can offer the greatest com- fort to his sitters; it being his belief that merit in art will be sought for by those who are able to appreciate it.

M USIC IN THE PUBLIC SCHOOLS OF BROOKLYN .-- Though the practice of singing obtained in the Public Schools for many years, Music was not taught as a separate branch till about the year 1860, when Teachers of Music began to be employed; but they had no uniform system of teaching, and each used his own method independent of the rest. From this cause some schools became much more proficient than others. Mr. DAVID P. HORTON was one of the pioneers in music teaching in the Public Schools. In September, 1876, Prof. A. R. CASWELL was appointed one of the Teachers of Music in the schools. Becoming aware of the dis- advantages of the system of music teaching then prac- ticed, he proposed to the Board of Education a plan for a uniform method of teaching in all the schools, but they failed to adopt it at once. In the autumn of 1878, the Central Grammar School was opened, which comprised the highest grades of all the schools, and its Music Department was given to Prof. Caswell. Here the inequalities and defects of the different methods of

teaching were made glaringly apparent, by comparison of scholars coming from the different schools. No ac- tion to remedy matters was taken, however, until the spring of 1880, when Prof. Caswell was appointed Musical Director; and was asked to propose a plan of uniform teaching in all the schools. The system which he brought forward was adopted, with a few changes, April 20, 1880. Under this uniform system, musical instruction has been brought to a high standard. Ex- aminations of the scholars are held every six months, and diplomas awarded to graduates; the most profi- cient pupils receiving still further instruction gratui- tously from Prof. Caswell. In November, 1882, a rule of the Board was made, under which applicants for the position of Music Teacher in the schools must pass an examination prescribed by the Musical Director. The method employed in teaching is almost wholly oral, from charts and the blackboard, and covers the rudi- ments of music, sight reading, the elements of har- mony, with practice in vocal culture.

(8)

THE

AMATEUR DRAMATIC ASSOCIATIONS

OF BROOKLYN.

TN 1867, the Rev. Henry Blanchard, an ardent love of Shakespeare and the Dramatic Art, was pastor of the Church of the Restoration, now the Church of the New Jerusalem, at the corner of Monroe place and Clark street. Through his efforts a society of young people having for its aim the study of Shakespearean and other characters was formed. At that period amateur dramatic societies were numerous throughout the city, but had not arrived at the high degree of per- fection they have attained at the present time. The young people then were content with giving their rep- resentations in the parlors of friend's houses, without scenery or any other paraphernalia peculiar to the stage. They never dreamed of treading the boards of the Academy of Music, or the Athenaeum; but were well pleased when they could secure the old Lyceum, on Washington street, for their purpose. The society formed by the Rev. Mr. Blanchard was accustomed to meet, on alternate Friday evenings, in the vestry of the church and read, without artistic details, some first- class drama. The pastor himself would frequently participate in this charming amusement. The idea was pleasing and novel, and was instrumental in at- tracting a large number of persons to the meetings of the society. Mr. Blanchard, some time afterward, played Claude Melnotte to the Pauline of Mrs. L. D. St. George, in the " Lady of Lyons," at Sawyer's As- sembly Rooms. It can scarcely be for a moment doubted, that this society had much to do in creating a taste for the Dramatic Art, which resulted in such sig- nally successful associations as the Entre Nous, Amar- anth, Kemble, Gilbert, Clifton, Wallack, Arcadian and the Amateur Opera Association of this city.

The Entre Nous Dramatic Association (since converted into a social organization) headed the list of permanent amateur dramatic societies. It was first organized in the autumn of 1867, at the resi- dence of Mr. Conradt, No. 20 Harrison street, by a number of residents of South Brooklyn ; among whom were the late Amos G. Torrey, F. M. Moers, L. D. St George, since deceased ; Charles H. Tremaine and Ed- ward Olds. Its purpose was to give the members an opportunity to spend the long winter evenings, in an agreeable and entertaining manner. The comedy of " Naval Engagements" was the first performance, and

was given at the residence of Miss H. Tremaine, on Henry street. A number of performances of similar character followed in rapid succession, all given at the homes of the members. The fame of the new society spread far and wide, and the applications for member- ship finally grew so numerous, that it was resolved to incorporate it under the laws of the State; and the name was changed to the Entre Nous Dramatic and Literary Association, the membership being limited to one hundred. Mr. Amos G. Torrey was the first presi- dent, and held the office until the close of the sixth season. In the fourth year of its existence, dissatisfac- tion between a portion of the members and the man- agement, resulted in the withdrawal of abont forty members, under the leadership of Mr. L. D. St. George, who organized the Amaranth, with Charles Bamburgh as its first president. The Entre Nous still continued in its course until a few years ago, when it was con- verted into a social organization. Among the gentle- men prominently identified with the Entre Nous during its brilliant career were A. G. Torrey, Lucian Stanley, Charles H. Parsons, Charles Bamburgh, L. D. St. George, J. W. Thompson, A. R. Thompson, H. W. Pope, David L. Kirby, Edward Olds, Avon C. Burn- ham, A. J. Dickman, F. M. Smith, A. W. Peters, John Oakey and C. M. Tremaine. The plays produced by the Entre Nous were as follows : "Still Waters Run Deep," " The Breach of Promise," " Perfection," "Look- ing for Pa," " Caste," "Poor Pillicoddy," "Every- body's Friend," " A Morning Call," " I've Written to Brown," "Slasher and Crasher," "She Stoops to Con- quer," " Six Months Ago," " The Two Buzzards," " A Pretty Piece of Business," " All that Glitters is Not Gold," "Betsey Baker," "Two in the Morning," " Lend Me Five Shillings," "Conjugal Lessons," " Old Gooseberry," " The Elixir of Life," "The Jacobite," "One Thousand Pounds," " Married Life," "The Chimney Corner," " Aunt Charlotte's Maid," "The Two Bonnycastles," " Leave it to Me," " The Doctor of Alcantara," and many others. This list indicates that the society confined itself rather to the light comedies, comediettas and farces than to the heavy Shakspearean characters.

Other Dramatic Societies, contemporaneous with the Entre Nous, but long since extinct, were the Montague, Mezereau, Philo-Momus (Fun-lovers),

1163

THE AMATEUR DRAMATIC ASSOCIATIONS OF BROOKLYN.

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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 126

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