USA > Ohio > Hamilton County > Cincinnati > Cincinnati, the Queen City, 1788-1912, Volume II > Part 57
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Earnshaw designed the old Norman-Gothic Hughes high school. Hamilton designed the old English-Gothic Woodward high school. Louis Piket was the architect of St. Peter's German Protestant church. Anthony Piket designed St. Xavier's church, German-Gothic and St. Xavier's College, the First Presby- terian church, the Mechanics Institute and Medical College.
James W. McLaughlin designed the Masonic Temple, St. Francis Catholic church and the depot of the Cincinnati, Hamilton and Dayton railway. These are all in the late Byzantine style. A specimen of the same style is the St. Georgius church.
The architect of the Johnston building was Mclaughlin. The Cincinnati Hospital was designed by A. C. Nash; the German Mutual Insurance Com- pany's building was by John Bast.
The old Music hall was designed by Sigmund Kutznitzki. All these and the following are or were in the Italian or Renaissance style; Robinson's and Pike's Opera Houses, the Grand Hotel, the Gibson House, the Public Library, the Car- lisle, Mitchell, Halbert, Simon and Thurnauer blocks.
The first piece of statuary applied to the front of a building in this city was the statue of Cincinnatus on the Baker building.
The synagogues of the Children of Israel and of Benai Jeshurun are in the Moorish style.
Samuel Hannaford designed the City workhouse, the present Music hall, and the Longworth and Bell buildings.
The architect of the University buildings was Samuel Hannaford, and the style is a modified Classic or Italian.
James W. Mclaughlin was the architect of the Art Museum; the style is Romanesque.
Of the government building, A. B. Mullet was the original designer, when he was the United States Supervising architect. He was succeeded by Potter, who modified Mullet's design, the modification being in the form of the roof
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only. Potter was succeeded by Bell, under whose charge it was completed. Samuel Hannaford was the local architect in charge of the work throughout all administrations. The style is a modification of the French Mansard.
The architect of the Sinton Hotel was Frank M. Andrews; the style is French.
Samuel Hannaford was the architect of the Grand Hotel, and the style is a rather free adaptation of the Italian or Classic.
The Chamber of Commerce, of which the walls still stand in the latter part of 19II, was designed by H. H. Richardson; the style is Romanesque.
The famous residence of the late Alexander McDonald, in Clifton, generally regarded as the finest private house in this region, had for its architect Samuel Hannaford; the style is an adaptation of the Gothic as seen in Scotland.
The Church of the Covenant was designed by Mr. Walters, of the firm of Walters and Stewart; the style is Gothic.
The original architect of the Catholic cathedral in Covington, considered one of the most impressive buildings in the west, was Mr. Coquard, of Detroit. The front of the cathedral and towers were added by Mr. David Davis, of Cin- cinnati. The style is French Gothic.
The details of modern architecture are mainly based upon details of styles that have gone before. The modern building, with its varied requirements to suit the present day needs, is, as a rule, planned on entirely different lines and for different purposes than the old structures which furnished our best examples of style, and it is only in details of mouldings, cornices, columns, treatment of openings and architectural features of that kind, that it can be truly said that they are in this or that style.
There have been periods of change in the style of architecture in Cincinnati from time to time. In the pioneer days there were no particular styles adopted, as the buildings were, as a rule, rather simple. The best dwelling houses that followed that time were modeled upon the old Colonial houses of the east, and the public buildings, banks, etc., were mainly rather rude copies of Greek and Roman architecture.
Following this time, and along in the 6os, there was a series of books pub- lished by an architect named Sloan, who gave many examples of French and Italian villas, and in these books he presented a great number of sketches of dwelling houses designed in these styles. This particular publication seemed to have a very wide-reaching influence, and during the late 6os and early 70s a great many houses were built in imitation of these designs. A great many of these buildings are still in existence. Many of them have Mansard roofs, the outcome of the French influence, and a great many of them have low-pitched roofs and wide eaves, which were designed under the influence of the Italian examples.
The architect and builder of that day, however, introduced in conjunction with these characteristic designs a great deal of detail of their own, much of which was poor. Their ornamentation consisted mainly of meaningless jig- sawed work plastered on top of the French or Italian forms.
Later, the so-called "Queen Anne" style was very prevalent, this being very largely influenced by English models.
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Following this, H. H. Richardson, who was the designer of the Chamber of Commerce, introduced into this country the Romanesque style, modeled upon the fortresslike chateaux of France. He was a great artist in this particular style. He built many important buildings in the east, and for a time this in- fluence carried everything before it, and churches, public buildings, residences, etc., were modeled upon this style.
This has, however, at the present time given way to a rather more precise and academic style of the French school. The French architects have always been magnificent designers, using the old Roman and Greek motifs. This style has been taught in their schools, and a great many American architects have been trained in France, and the architecture of the most important structures that are being built today is modeled upon this peculiar style. It might be called a free classic. It is not handled in accordance with very strict rules, but the de- tails are all modeled upon Roman or Greek lines, grouped and combined with a freedom which makes it almost a style of its own.
There seems to be a tendency in Cincinnati at the present time among some of our best designers to get away from the rather formal classical styles that have been in use, and they are looking toward the more free styles that were developed in the brick architecture of southern Italy and in Spain. These, however, have all been handled without much regard for precedent.
The architecture of Cincinnati does not, of course, differ essentially from that of other cities. As a rule architects travel considerably, they visit other cities, they have the advantage of a great number of photographs and plates of different kinds that are published in the engineering and architectural jour- nals, and it cannot be said that any one part of the country has a distinctive or individual style of architecture.
Cincinnati has now a number of the best architects and architectural firms in the country, and under the guidance of these the city will grow more and more beautiful in that direction.
THE ART MUSEUM.
January 18, 1877, the Women's Centennial Executive committee of Cincin- nati met and adopted the following resolutions: "Resolved that it is the wish of this committee that they reorganize as an association to advance women's work, more especially in the field of industrial art. Also, Resolved, That Mrs. A. F. Perry be requested, at a suitable time, to call a meeting for deliberation, and lay before it a definite plan of work." On January 27, another meeting was held and Mrs. Perry presented her paper outlining a plan for the founding of a ladies association, which should aim at the establishment of an art museum.
On March 12th, a meeting of ladies and gentleman was held at the home of Mrs. A. S. Winslow, the outcome of which was the appointment of a com- mittee on organization. The gentlemen on the committee were A. T. Goshorn, Joseph Longworth, L. B. Harrison, A. D. Bullock, A. S. Winslow, Julius Dex- ter, George W. Nichols, W. H. Davis, O. J. Wilson. These gentlemen were in- vited to act as a committee to draw up a form of subscription, and to take such steps as, in their judgment, would best promote the establishment of an art
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museum, until such time as the subscribers to a fund for this object should effect a permanent organization.
A meeting of ladies was held April 28, 1877, to complete the organization. Its object was announced to be to interest the women of Cincinnati in the establishment of an art museum in the city. It was resolved to give it the form of an association whose membership should reach every neighborhood, circle and interest of the city and suburbs. A constitution was adopted and officers were elected. The aim of the association was declared in the constitution to be "the cultivation and application of the principles of art to industrial pursuits, and the establishment of an art museum in the city of Cincinnati."
The officers elected were: President, Mrs. Aaron F. Perry; vice presidents, Mrs. John Davis, Mrs. A. D. Bullock, Mrs. John Shillito, Mrs. A. S. Winslow, Mrs. George Carlisle, Mrs. William Dodd; treasurer, Mrs. H. C. Whitman ; sec- retaries, Miss Elizabeth H. Appleton, Miss Laura Vallette.
This organization at once gave a new impulse to interest in art in Cincin- nati. A loan exhibition was held in 1879. The members of the association pre- pared numerous art works and these were placed in the yearly expositions in the city.
At the opening of an industrial exposition, September 8, 1880, Charles W. West, a retired merchant of the city, offered by letter one hundred and fifty thousand dollars for the founding of an art museum, provided a similar amount should be subscribed. It was only a few weeks until more than the required sum had been subscribed.
The following is the correspondence on this subject between M. E. Ingalls and Mr. West. Also the list of those to whom this city is forever indebted for this magnificent institution.
After due consideration, Eden Park was chosen as the site for the museum, and the necessary arrangements were made with the city authorities.
After council had passed its ordinance February 3, 1882, granting permission for "the erection of a museum and such other buildings as may be incidentally connected therewith" in Eden Park, the museum committee opened its quarters for the time in Music hall. Valuable gifts were accepted by the trustees of art treasures from Mr. Longworth, the Women's Art Museum, George Hoadly, Mrs. Eliza Longworth Flagg, Mrs. S. N. Pike and the Ninth Cincinnati In- dustrial Exposition.
February 10, 1882, another letter was received from Mr. West offering the museum authorities another sum of one hundred and fifty thousand dollars for its endowment. It was required that this sum be held perpetually without im- pairment. The offer was at once gladly accepted.
May 17, 1886, the Art Museum building in Eden Park was dedicated with elaborate ceremonies. A vast assemblage was present. The collections, in part owned by the association and in part consisting of loans, were put in place.
The Art Museum building cost three hundred and thirty thousand dollars. Almost twenty acres of land were set apart by the city for the purposes of the museum.
The museum has a ground surface of seventeen thousand, two hundred and twenty-seven square feet. Its floor surface consists of thirty-six thousand, two
ART ACADEMY AND MUSEUM, EDEN PARK
THE CHARLES WEST MONUMENT, SPRING GROVE CEMETERY
It was due to Mr. West's generosity that our city is in possession of our Art Museum in Eden Park, he having contributed one hundred and fifty thousand dollars to establish it.
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hundred and sixty-six square feet. Its wall space is twenty-six thousand, eight hundred and twenty feet.
The permanent collections of painting and sculpture are extensive and very valuable. The sculptures consist of original marbles and bronzes and casts from Renaissance, Roman, Greek and modern originals. The textiles include Japanese embroideries, brocades, cashmere shawls, lace, tapestries, etc. The Bookwalter collection consists of a loan of art objects collected by Mr. John W. Bookwalter in the east. t. Metal work includes original Japanese and Chinese bronzes, and five hundred electroplated reproductions of originals in the museums of Europe. . There is an extensive collection of armor. The Graphic Arts include paintings, engravings, photographs and plaster casts of ivory carvings. There is an ex- tensive collection of Ceramics. The Ethnology department is excellent. Amer- ican archaeology is specially good. There are extensive miscellaneous collections in addition.
The Art Academy of Cincinnati is a separate institution from the museum but under the same management.
HISTORICAL SKETCH.
In accordance with a bequest to the city of Cincinnati by Charles McMicken, who died in 1858, the McMicken School of Design was opened on the 4th of January, 1869. Under the same bequest was established in 1871 the McMicken University of Cincinnati, and of it the school of design became a part.
The school of design received further support from Joseph Longworth during his life, but remained a part of the university until in 1884 it was transferred to the Cincinnati Museum Association, into whose hands Nicholas Longworth, in pursuance of the unfufilled intention of his father, Joseph Longworth, placed an endowment fund of $371,631 for the support of what then became the art school of Cincinnati.
Reuben R. Springer and David Sinton sought to provide an adequate build- ing near the museum in Eden Park. Mr. Springer died before this was accom- plished, bequeathing $20,000 to the school. Mr. Sinton then gave $75,944 to- wards the construction of a building. To this was added $14,081 from the Springer endowment. At the dedication of this building, on the 17th of No- vember, 1887, the school was named the Art Academy of Cincinnati, and continues as a department under the management of the Cincinnati Museum Association, which holds for use in this direction :
ENDOWMENT FUNDS.
Longworth Endowment
$371,631.00
Springer Endowment
11,371.40
Louise Ingalls Memorial Fund
10,000.00
And a building that cost
97,175.58
A total of
$490,175.98
of which the academy has the usufruct. Being thus but partially dependent upon tuition fees for support the trustees are enabled to fix these fees at an excep-
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tionally low rate, so that the students now receive for twenty-five dollars what must otherwise cost at least one hundred dollars. The Louise Ingalls Memorial Fund gives financial aid to deserving students. This fund was created in 1899 by Mr. and Mrs. Ingalls in memory of their daughter.
The building is rectangular, 82 by 140 feet, with over 38,000 square feet of floor space, divided among three stories. It contains large and small class rooms and studios, a lecture room with two hundred seats, and a dining-room and kitchen.
Its location upon a hill-top in Eden Park, 350 feet above the river level, is favorable for light, air, and for out of door work in season.
The equipment consists of an adequate number of casts, still-life, and fur- niture, so that the students need buy only the actual materials for drawing and painting, and of these a supply is kept in the building at the lowest cbtainable prices.
To be mentioned as a part of the equipment is the employment of from ten to eleven life models daily for students drawing and painting the head or the figure.
The teachers of the life classes together with those of the modeling and carving classes constitute a faculty. Under the rules governing these classes each member of the faculty has complete and independent control of the ad- mission of students to his class, and of their work afterwards. The aim of this arrangement is to approach as nearly as possible to the relation between the student and his chosen master in the private studio.
ROOKWOOD POTTERY.
The pottery was founded in 1880 by Mrs. Maria Longworth Storer, who named it Rookwood, after her father's country estate near the city. In 1883 Mr. W. W. Taylor assumed the active direction of the works as the partner of Mrs. Storer. Upon her retirement in 1890 she transferred her interest to Mr. Taylor, who formed the present company, and under his direction as president the pres- ent buildings were erected in 1892 and extended in 1899. They crown the sum- mit of Mt. Adams, one of the city hills, and while remarkably picturesque in themselves, they command in every direction beautiful views of the river, the city and its suburbs.
The pottery is managed on lines opposite to the prevailing factory system, as the effort is to attain a higher art rather than cheaper processes. Absolutely no printing patterns are used nor any duplicates made. A spirit of freedom and liberality has prevailed in order to cultivate in every way individual artistic feel- ing among the workers employed.
The decorators comprise both men and women, and are drawn mainly from the Art Academy of Cincinnati. The decorations are entirely on the moist clay before any firing, the colors being mixed with clay and becoming part of the ware itself. The pieces, after decoration, are fired into biscuit and the various glazes are applied in subsequent firings. These methods, while necessary to produce the beautiful underglaze effects of Rookwood are rarely used elsewhere as they increase so largely the risks and expense of manufacture.
版出社
ROOKWOOD POTTERY. 1898
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The clays in use for all purposes are entirely American and largely from the Ohio valley. These native clays from the start inclined the color quality to- ward yellows, browns and reds, and the decorative medium lent itself to a rather luxuriant style of ornament in rich arrangements of warm color, all of which the transparent glazes merge in deep, mellow tones. As the command of ma- terial has strengthened, the beauty of the ware has steadily gained in a harmony of all the elements which compose it, until form, color, decoration and glaze combine to produce those things of beauty which elude all attempts to imitate and make Rockwood a complete novelty in the world's ceramics. The produc- tion, however, is not limited to a warm yellow, or red tone, for even dark pieces are often relieved with deep, rich greens and blues, and there has latterly de- veloped a large and important series in light arrangements in what are known as "iris" and "sea green." In each of these we find the same mellow tone, the same soft brilliancy as in the older ware.
Still another variety are the mat glazes first made at Rookwood in 1896, and now among the most admired of its productions. In these the special quality is beauty of texture, though the range and variation of color is very great. To many pieces decoration is applied of flowers or other subjects broadly painted ; of motives derived from American Indian designs and of other conventional ornaments in relief or incised.
The latest variation of the mat glaze type is the "vellum" ware, first shown at St. Louis in 1904 and pronounced by expert judges the only ceramic novelty of the exposition. Its name indicates the peculiar charm of the glaze texture and it presents for the first time the extraordinary achievement of a transparent mat glaze developed in the fire and not by acid or other after-treatment.
Rare specimens are also exhibited of the famous "Tiger Eye," first made at Rookwood in 1884. This is the earliest of the class of crystalline glazes since so extensively developed at Sevres, Copenhagen and Berlin, though none have attained this special effect.
MUSIC.
The first organized band here was that at the fort, under General Wilkin- son, commandant at Fort Washington, succeeding General Anthony Wayne.
Klauprecht, in his German chronicle in the History of the Ohio Valley, after speaking of Wilkinson's splendid barge and the pleasure parties entertained on it, states that German and French musicians "accompanied them with the har- monies of Gluck and Haydn, and the reports of the champagne bottles trans- ported the guests from the wilds of the northwestern territory into the Lucullan feasts of the European aristocracy." When Wilkinson departed for New Orleans, the band also vanished.
In 1789, a Scotchman, Thomas Kennedy, was here, but soon moved to the Kentucky side. He was a skillful violinist. Another Scotchman, John Melish was here in September, 1811, and visited Kennedy. Melish records: "Before we had finished our breakfast, Mr. Kennedy drew a fiddle from a box, and struck up the tune of Rothemurchie's Rant. He played in the true Highland style, and I could not stop to finish my breakfast, but started up and danced Shantrews. The old men was delighted, and favored us with a great many Scottish airs.
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When he laid down the fiddle I took it up and commenced in my turn, playing some new strathspeys that he had not heard before; but he knew the spirit of them full well, and he also gave us Shantrews, 'louping near bawk hight,' albeit he was well stricken in years. He next played a number of airs, all Scottish, on a whistle."
There was in the earliest years of Cincinnati a man named McLean here who was a singing master. Apparently teaching singing was not sufficiently remunerative for him to depend upon it alone for a living, for he combined with music the trade of butchering and also held a public office. McLean advertised in a newspaper September, 1801, a subscription singing school at one dollar per member for thirteen nights or two dollars a quarter. Subscribers were notified that they must find their own wood and candles.
The Western Spy, December 17, 1800, contained this notice: "These gentle- men and ladies who feel themselves disposed to organize a singing school will please to convene at the courthouse tomorrow evening at candlelight, as it is proposed to have singing. Those who have books will please bring them."
October II, 1814, this announcement appeared in Liberty Hall: "Cincinnati Harmonical society. At a meeting held at Mr. Burt's tavern on Saturday even- ing last, it was unanimously resolved that the society shall meet at the estab- lished hour at the same place on Saturday evening of each succeeding week; and that on next Saturday evening a proposed amendment of the by-laws will be finally discussed, of which previous notice shall be given to the society in general. The members are therefore requested to be punctual in attending on Mr. Burts on the fifteenth instant, at seven o'clock, p. m. A general attendance of the honorary members is particularly required. By order, Thomas Danby, secretary, Cincinnati, October 10." This society was accustomed to hold a yearly concert and ball. That of December 16, 1814, was held at the large brick house on Front street, lately occupied by General Harrison."
Among the selections given by this organization July 4, 1819, were the follow- ing: Hail Columbia, Life Let Us Cherish, Will You Come to the Bower, The White Cockade, Victory of Orleans, Italian Waltz, Echo, Monroe's March, America, Commerce and Freedom, Liberty or Death, Masonic Dead March, Liberty's March, March in Blue Beard, Lafayette's March, Star Spangled Ban- ner, Haydn's Fancy, Harmonical Society's March.
April 8, 1815, there appeared in Liberty Hall the announcement of a proposed "new and valuable collection of music, entitled 'The Western Harmonist,' by John McCormick." The advertisement states: "The author, having been many years in the contemplation of this work, flatters himself that he will be able to furnish the different societies with the most useful tunes and anthems."
December 18, 1815, the following advertisement appeared in a Cincinnati paper : "Musical academy at Mrs. Hopkins, opposite Columbia Inn, Main street, Cincinnati. For teaching in a scientific and comprehensive manner, a scholar thirteen tunes at least, in eighteen lessons, or no compensation will be required, on any of the following instruments, viz .: Clarinet, trumpet, French horn, bugle horn, oboe, grand oboe or voice humane, trombone, fife, German flute, flagotter bassoon, serpent, flageolet, sacbut, hurdygurdy or beggar's lyre, violin, violin- cello, bass drum, octave flute, cymbals, etc. Military bands taught accurately
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and expeditiously, on a correct scale, on any of the above instruments, with ap- propriate music by James H. Hoffman, P."
In 1816, Timothy Flint published at the Liberty Hall establishment a music book, called "The Columbian Harmonist." The presumption is that he must have been encouraged by the musical conditions here to believe there would be demand for the book.
Klauprecht states that in 1816 there existed here a musical organization called the St. Cecelia Society.
Previous to 1816 a band of amateurs was accustomed to hold its meetings at the home of Frederick Amelung, on Sycamore street. Amelung was himself a musician. Members of this society are believed to have been Martin Baum, Monsieur Menessier, a pastry cook who had been a jurist and member of par- liament in Paris; Albert Von Stein, builder of Cincinnati's first waterworks; Dr. Carl G. Ritter, confectioner ; Augustus Zemmer, confectioner; Philibert Ratel, a teacher of music and dancing; George Charters, piano maker; Edward H. Stall, druggist. This society is supposed to have been called the Apollonian.
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