History of Philadelphia, 1609-1884, Part 53

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992

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As we close these brief and imperfect sketches of the men who have labored in the various branches of art in Philadelphia, we cannot but revert to those early days (1791), when Charles Wilson Peale attempted to found " A School for the Fine Arts," a scheme in which he found but one coadjutor, Cerachi, the Roman sculptor, and wonder at the change that less than one century has brought in the condition of art. It is the more surprising when we reflect that artistic taste is generally the result of, rather than the aid to the material progress of, a com- munity, and that, moreover, our sketches stop at a period already distant from the present, and since which art has continued to move with the same gigantie strides. If Peale, the promoter of the abortive "School for the Fine Arts," the more successful founder of "The Columbianum," could see the noble Academy of Fine Arts, of which he was one of the most active promoters in 1805, in its present development, the noble specimens of statuary and architecture which adorn our streets and public places, our magnificent libraries, the splendid gal- leries of paintings, and the exhibitions, so different

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from the first exlabaiom given by the Columbianum in the Senate chanser, he might say, with grateful exultation, " At last my dearest wish is gratified, the wish I expressed in my letter to Hawkins, in IS07,-' I wish Philadelphia to be the seat of art and science in America.'

Of course the history and progress of the arts of a city are intimately associated with the organization of the societies intended to promote its welfare, and for the accomplishment of those things which separate individuals could not do. Among those which have from time to time been established in Philadelphia the " Pennsylvania Academy of the Fine Arts" holds the most prominent position. It was organized in 1805, at a meeting in Independence Hall, by seventy- one gentlemen, a majority of whom were members of the bar. In March, 1×06, it was incorpor- ated, and later in the

when quite a number of valuable works of art per- ished, among them a fine original picture of Murillo of the "Roman Daughter," which had been presented by Joseph Bonaparte, ex-king of Spain, and the entire gallery of line casts from the antique, a donation from the first Napoleon, besides many other works, original models, ete. In 1846 a new building was erected on a much larger seale than the first, and was made in great measure fire-proof. But the growing wants of the academy very soon demanded more space, and finally, in 1870, the property was sold, and the Chest- nut Street Opera-House now occupies the site. Im- mediate steps were taken to ereet a new building for the Pennsylvania Academy of Fine Arts, and a lot was secured on the southwest corner of Broad and Cherry Streets for the purpose. The corner-stone was laid Dee. 7, 1872, under the direction of James L. Claghorn, president of the academy ; John Sartain, secretary ; Edward S. Clarke, treasurer; and Fairman

OLD PENNSYLVANIA ACADEMY OF THE FINE ARTS.

same year a building on Chestnut Street, between Eleventh and Twelfth, was completed and occupied, thus forming the oldest academy of the fine arts in the United States. Its first president was George Olymer. The first annual exhibition of the acad- emy. in conjunction with the Society of Artists, was made in May, Isfl, and consisted of above five hundred production -. At this time the board of director- were George Clymer, William Tilghman, J'. F. Glentworth, William Meredith, Joseph Hop- kin-en, William Rusk, Samuel F. Bradford, Zaecheus Coffin-, James Gibson, Charles J. Wister, William Poyntell, Reeve Lewis, and Rembrandt Peale. In 1810 the first annual dise Surse was made to the society by Mr. Hopkinson

The first strhetfre after many additions had been made to i was partially destroyed by fire in 1815.

Rogers, John Sartain, Henry C. Gibson, Henry C. Morris, and Matthew Baird, building committee. The architects were Messrs. Furness and Hewitt. The ceremonies attending the laying of the corner- stone consisted of prayer by Rev. Dr. Morton, reading a letter by Mr. Claghorn from Horace Binney, brief remarks by Caleb Cope, followed by a very able ad- dress from Fairman Rogers. The president next introduced Theodore Cuyler and Rev. Dr. W. H. Furness, who made brief addresses.

The academy building has a front of one hun- dred feet on Broad Street, with a depth of two hun- dred and sixty feet on Cherry Street. It is built of brick and stone, of the Byzantine or Venetian style of architecture, an l is thoroughly fire-proof. Over the broad portal on Broad Street stands a mutilated colosal statue in marble of the goddess Ceres, which

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was dug up at Megara, Greece, and presented to the academy by Commodore Patterson.

The schools of the academy are conducted on the liberal plan of offering all their advantages gratui- tously, merely obliging the applicant to show a draw- ing indicating sufficient capacity. Lectures on artistic anatomy form an essential feature, and perspective and a general knowledge of architectural styles are imparted, the whole being directed by competent professors. The fundamental principle of the insti-

appear. This is not calculated to operate detrimen- tally to stockholders, because it would only be a change of name to that of contributor, all the privi- leges remaining the same except one, namely, the right to sell out the academy.

James L. Claghorn, the president of the Pennsyl- vania Art Academy, is a native of Philadelphia, where he was born July 5, 1817, being the second son of the late John W. Claghorn. At the age of , fourteen he entered the establishment of Jennings,

PENNSYLVANIA ACADEMY OF FINE ARTS.

tution is that of a joint-stock company, and this is the Thomas, Gill & Co., auctioneers and commission root of all its conflicts with the professors of art, which merchants, in which his father was a partner, and applied himself early to the work by which he ex- pected to make his way in the world. Five years afterward, Mr. Jennings having dicd, the elder Clag- horn and Mr. Myers (another partner) withdrew, and formed the firm of Myers & Claghorn. In 1840, John W. Claghorn withdrew, and then the subject of this sketch, together with Samuel T. Altemus, entered into a new combination with Mr. Myers, and con- tinued the business, on Market Street, between Sec- began with its birth and to all appearance must con- tinue to the end ; the artists insisting that it is only those practicing art can know how to conduct schools of art, or properly arrange the works themselves con- tribute to the exhibitions. A public-spirited lover of art, now deceased, has bequeathed in his will a very large sum of money to the academy, sufficient to endow it for the public good for all time, but it is on the condition that this feature of joint-stock shall dis-

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ond and Third. There they went on with various changes until Dec. 31, 1861, when James L. Claghorn retired. Up to this time so steady had been his devo- tion to business that, for the whole twenty-one years during which he had been a partner in the concern, not a single entry appeared in the ledger which was not made with his own hand. Throughout this period he had entire charge of the finance depart- ment, which was no small matter. In those days, to do a business of ten million dollars a year meant even more than it does now. After close application cover- ing a long period of years, he might reasonably de- sire a respite, and, though not intending to quit active life, he planned an excursion abroad, to enjoy his well-earned leisure. But just at the time when he was ready to carry this out, the state of the nation had become so threatening that he could not find it in his conscience to turn his back on the popular struggle just entered upon, with the issue still doubt- ful. Instead, he resolved to devote his whole time and energies, just set free from business, to aiding, so far as he could, the cause of the Union. It is rather a remarkable fact that both he and Mr. Myers were invited to join the Union Club, which was formed in November, 1862, for the purpose of consolidating the loyal gentlemen of Philadelphia and counteracting secession sympathizers. It embraced but a little over forty members at first, and the selection of two per- sons from one firm was a pronounced compliment. Not long afterward, on Dec. 27, 1862, the Union Club evolved that larger body which took the name of Union League, and played so important a part in creating a popular support for the war. Immediately on its organization, Dr. John F. Meigs, William H. Ashhurst, George H. Boker, and James L. Claghorn were chosen on the executive committee. The last named was appointed treasurer, and has held that office ever since down to the present, except while absent for a time in Europe. Recently, upon the twenty-first anniversary of his incumbeney of the treasurership, he was presented with a handsome gold medal, as a token of the appreciation of his services entertained by his fellow-members of the League. The pecuniary management of the League, so essen- tial to its welfare, has always been successful, and for this fact its treasurer certainly deserves the credit.

Besides this he was very active in obtaining those large subscriptions which the Leaguers individually raised for various purposes, such as publication and recruiting. He became treasurer of each of the im- portant committees, and kept all their accounts, be- sides those of the League itself. Some idea of their extent may be had from the fact that the enlistment committee alone disbursed one hundred and eight thousand dollars in two years. " I didn't give much time to my own affairs in those days," he once ad- mitted in conversation, "and in that way lost some good opportunities. But that was not of much im- portance. The first business was to get the country

out of its scrape. It was pretty hard work, though, and some nights when the League House was threat- ened I stayed there all night."

In 1865, on the 1st of November, peace being fully restored, he started for Europe, with his wife, on the steamer "Scotia," and two years to a day from that time re-embarked on the same vessel for America. Before his departure he received various compli- mentary dinners, at one of which T. Buchanan Read recited a spirited and graceful poem of his own, composed for the occasion.

Ever since he had been a young man Mr. Claghorn had been charged with financial trusts. He had not been in this country many days, after returning from Europe, before he was elected president of the Com- mercial National Bank, having previously been a director of the Philadelphia Bank, as his father had been before him, and also of the Girard Bank.

While Mr. Claghorn is prominently known to Phil- adelphians by reason of his identification with the city's financial and commercial interests, yet he is equally as well known as a leader in all that pertains to the development of the higher arts and to æsthetie culture in its fundamental aspect. The love of art was born in him. He began by making a collection of paintings. At one time he bought only American paintings, and had in his house three hundred pie- tures of native artists. Then he sought foreign works, and he still retains a number of both kinds. But his chief attention has been given to engravings, and he was one of the founders of the American Art I'nion, which strove to foster this branch of the fine arts. At present he devotes himself to keeping up the modern engravers and acquiring a representative variety of their works in the best state.

In his house on West Logan Square are everywhere seen the evidences of his love of the beautiful in art. The drawing-room and its adjoining cabinet are filled with pietures and other objects of rare artistic interest. Opening out of the first apartment is a spacions en- graving-room, built on an adjoining lot and lighted from above through glass, as well as by rows of gas- jets lower down, for the darker hours. Here there is spread upon the walls a series of etehings and other prints, illustrating the history of the graver and burin from the best specimens of early German art in the fifteenth century down to the elaborate work of modern France, Italy, and England. At one end of the room the panels on which the pictures are hung are so arranged as to slide upward out of sight, bring- ing into view another array behind the first; and back of these there is still another set. A large bronze relief of Rembrandt is placed above against the cornice, and at the opposite end of the gallery another of Van Dyck. Gallery is hardly the right word, for there is no sense of coldness and vacaney as in so many rooms set apart for pictures. Comfort- able furniture is disposed here and there; charming works in oil, by Diaz, Michel, and others, rest upon

Samme& Elaghones

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low easels; and as you wander about to look at the engravings, you come upon specimens of Japanese or royal Worcester ware of extraordinary rarity and beautiful desigu. In one corner is the grand piano, silently suggesting another taste cultivated amid these charming objects ; near by stands a long row of sumptuous books ou art, behind low glass doors, and in two angles of the walls are set pretty beaufets, filled with delicate and glittering products of the potter's wheel and the glass-furnace.

But the engravings here are merely a selection from the immense stores collected in the house. Without invading privaey too far, a word may be said of the "print-room" up-stairs, approached through a long passage, the walls of which are panoplied with euts, both wood and steel, from skirting-board up to ceil- ing. In the room itself there is every appliance known to the collector. Chiffouieres, well stocked with examples of divers masters ; broad tables, ample portfolios, racks for exhibition and revolving shelves, loaded with volumes of reference on the subject for which the room exists, and ready to fire off their in- formation at the touch of a hand. Within this small space are assembled indescribable treasures, which have cost years of patient accumulation, loving study, and doubtless a good deal of money. But Mr. Clag- horn is not one to value his treasures merely for their ! cost ; they must be beautiful and meritorious as well. He is a connoisseur, and, more than that, a genuine enjoyer. The whole atmosphere of the house and this room shows that he has collected not from a sordid desire for possession, but so that he might live among artistic things and imbibe daily their refining and refreshing influence. In all Mr. Claghorn owns some fifty thousand engravings. Among them are two exquisite pieces by the rival elaimants to the in- vention of mezzotint,-Rupert, Count Palatine, and Col. Von Siegen. Albert Durer is exceedingly well represented by a large group of impressions from steel and wood, and several complete series; and most of Whistler's best etchings are found in the collection. The accumulation of mezzotints is ahead of any other in America.

But Mr. Claghorn is not simply a collector of pictures, a patron of artists. In every local move- ment looking to the advancement of the cause of art, whether in the promotion of art education or in the city's adornment, he has been an active, generous leader. A few years since he was chosen president of the Academy of Fine Arts, of which he had been a director for a number of years. Mr. Claghorn lent all his influence to the work, and chiefly by his ex- ertions there were obtained over twenty-three sub- scriptions of ten thousand dollars each, and seven of five thousand dollars each, within six weeks, making a total of two hundred and sixty-five thousand dol- lars. There are not many men who have the taet or can command the confidence to accomplish a feat like this. In this way the fund was raised which

brought the academy into its present effective and commodious building. He is also connected with other art institutions.

It is more than thirty years since he attended the first meeting of the School of Design for Women. Subsequently he became a director and then treasurer of that institution, and finally he was made president. The influence of one such man, catholie in taste, and appreciating the æstlietic in a variety of forms, ean hardly be estimated until after the lapse of years.

Mr. Claghorn's personal appearance and character- istics are too well known to need much description. Stout, hearty, white-haired, but active and keen in his enjoyment of all the good things of life, he retains at sixty-four all the zest of a young man, and nothing gives him more pleasure than to see those around him thoroughly happy, and to add to their ideal pleasures as well as to their material comforts. He is a striking example of how, in our American society, faithful devotion to business may be combined with sincere cultivation of the beautiful, generous encour- agement of art and whole-souled patriotism, by . simply carrying out the promptings of a large, frank, and unaffected manhood.

Besides the Pennsylvania Academy there have been several other institutions established in Philadelphia for the purpose of promoting the interests of the pro- fession, and these were managed by artists themselves, with one exception, "The Artists' and Amateurs' As- sociation," in which the control was by a mixed body, as its title indicates. The first of these in the order of date was entitled " The Columbianum," which was established in 1794, through the efforts of Charles Wilson Peale. The second was called " The Society of Artists of the United States," and was organized in May, 1810, four years after the Pennsylvania Academy had obtained its charter. An attempt was made to harmonize the interests of the two associa- tions, but the joint-stock feature of the academy made it impracticable. Subsequently an arrangement was arrived at by which it was agreed that the Society of Artists should pay into the treasury of the academy the sum of two thousand dollars (which they did), and the directors passed a resolution which says, "The Society of Artists shall have the right of making their annual exhibition in the rooms of the academy for six weeks." After enumerating certain expenses to be paid out of the proceeds, the law goes on to say, "The residue of the moneys then received shall be equally divided between the academy and the society." Schools were provided for out of a portion of the pro- ceeds of the exhibition, but difficulties arose about the management of them, and the affairs of botlı institutions languished. At length the Society of Artists dissolved.

In 1824, and again in 1828, attempts were made by the artists to obtain concessions from the academy to the end that matters purely professional should be confided to professors of art, but this was refused.

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The result was the establishment, in 1834, of " The Artists' Fund Society of Philadelphia," with John Neagle at its head, but the chief promoter of the movement was Joshua Shaw. The act of incorpora- tion bears date " the twenty-ninth day of April, one thousand eight hundred and thirty-five, and of the commonwealth fifty-ninth," signed, "James Findley, Secretary of the Commonwealth," This society added to the usual features of an exhibiting body and an academy that of a benevolent fund for the relief of artists needing assistance, hence the title adopted. This association continues to exist, but only in its beneficial and social character.

"The Artists' and Amateurs' Association of Phila- delphia" was formed in 1839 through the exertions of Joshua Shaw, and held its first exhibition the year following in the upper galleries of the Arcade, situ- ated on the north side of Chestnut Street, below Seventh, in the same apartments that had been occu- pied by Peale's Museum. The prominent feature of this institution was that of an art union, then a novelty · here, and which had been devised in Germany about seven years before. It succeeded in popularizing art, and was found to be useful to such a degree that the plan was very soon adopted in England and other European countries, and was introduced into America by the Apollo Association of New York, and the Artists' and Amateurs' Association. Its exhibitions ceased on the second year.

" The Art Union of Philadelphia" succeeded, and was organized in March, 1843, with James McMurtrie as president. In the following year it received its charter. It made the sixth regularly established society in the city ; but its sole purpose was the dis- tribution of native art productions among the people at moderate cost, and the employment and encourage- ment of home talent. It became widely popular here, as it had previously been everywhere that the system had been tried, and was found very useful in the direction of its aim. After a number of years of marked success it was allowed to decline, and was dormant for a long time. But in 1882 it was resusci- tated in a modified and, it is believed, an improved form. Its president was John Baird, and the annual distribution to the members was made in the Academy of Fine Arts.

The seventh and last on the list has for title " The Philadelphia Society of Artists," and held its first annual exhibition in 1879 in the north galleries of the Pennsylvania Academy, which were engaged for the purpose, but difficulties arose as usual, and their annual exhibitions are now held in galleries of their own, on Chestnut Street below Eighteenth.

Many of the profession continue to exhibit with the academy, although they now possess galleries of their own ; but from the time of the establishment of the Artists' Fund Society, in 1835, the academy sus- pended its annual exhibitions altogether, a period of ten years. When the academy directors were about

to reconstruct their new edifice, after the disastrous fire of 1845, they purchased from the artists their building, which stood in front, obstructing the view of the academy building from the street, and from that time on the artists contributed their works to the academy exhibitions, most of the time the exhibition committee of arrangement being composed one-half of representative artists, elected by the profession.

The building referred to was erected by the Artists' Fund Society, on space rented from the academy, over the stores on the Chestnut Street front. It was first opened with the fifth annual display of the society, in May, 1840. The Rev. Dr. Bethune delivered the inaugural address, and it may be appropriate to quote a few words from it in closing: "The opening of your new and commodious hall of exhibition, on a site generously secured to you by the Academy of the Fine Arts, warrants the best lopes for the future. You need no longer complain that you are without a resting.place and a home, and the scandal of seeming alienation between a society of artists and a society of the friends of art has ceased. Kindness has been proffered, and kindness has been accepted, and the academy have shown their willingness that you should be set before the public in a good light, even at the expense of being thrown themselves into the back- ground.

" The fact that, as associated artists, you are con- scious of strength to assume the entire management of your own interests is in itself cheering. For it is true that since the painters of Sienna were chartered in 1355, whose admirable statutes for the govern- ment of the profession, for truth and clearness, have never been surpassed, artists have proved themselves to be the best judges of what the honor of the arts may demand. It should also be remembered that in their carlier infancy they have always needed and sought kindly nurture from those who have the taste to admire and the means to reward what they have not the happy genius to execute."

The Philadelphia Sketch Club, founded in 1861, has a fine gallery of paintings. The School of De- sign, established in 1850, occupies a building at the southwest corner of Broad and Master Streets, Edwin Forrest's old mansion, which was enlarged and ex- tended hack to Carlisle Strect. This institution is designed for the instruction of women in drawing, sculpture, and painting, and is maintained by the contributions of members of the society. The in- stitution originated under the patronage and assist- ance of the Franklin Institute. The Fairmount Park Art Association, organized in 1872, is devoted to the embellishment of Fairmount Park with objects of art. The members make an annual payment of five dollars each, and have contributed to the park sev- eral valuable works of art. Beside these art associ- ations there are several others in the city doing good work in the same commendable direction. There are also many private art collections in the city that

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History of Philadelphia, 1609-1884, Part 53

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author Publication date: 1884 Publisher: Philadelphia, Pa. : L. H. Everts & Co. Number of Pages: 992

Author: Scharf, J. Thomas (John Thomas), 1843-1898. cn; Westcott, Thompson, 1820-1888, joint author
Publication date: 1884
Publisher: Philadelphia, Pa. : L. H. Everts & Co.
Number of Pages: 992