History of Philadelphia, 1609-1884, Part 55

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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Edward R. Hansen, a native of Denmark, became a permanent resident and teacher of music in the year 1822. He had the advantage over most members of the profession in the fact that he could play ex- cellently on the flute, violin, piano, aud flageolet. He was a figure in musical affairs in the city for some years.

Mr. Huerta, performer on the guitar, gave two con- certs in 1824.

The first translation of Von Weber's romantic opera of "Der Freischütz" took place at the Chestnut Street Theatre on the 18th of March, 1825. The or- chestra was doubled, and embraced nearly all the professional musicians and some amateurs. The text was spoken by several of the performers, but there were competent singers,-Wallack, Caspar; Darley, Wilhelm ; Jefferson, Killian; and Mrs. Burke, Bertha. These artists saved the piece, which, taken alto- gether, was not a success. The music, it was said, was of too high and scientific character to be under- stood by the ordinary public, which had not been educated up to the full enjoyment of music, or to a liberal cultivation of taste.

The first regular opera company came to the Chest- nut Street Theatre in 1827; the manager was Davis, of New Orleans. It was a French troupe which performed in that city in the winter season. The principal per- formers were Richard, Alexandre, Notaire, Rochfort, Le Blanc, Tabary, Theodore, and Mesdames Alexan- dre, Milon, Charlotte, and Bolze. This company in- troduced a knowledge of the methods of the operatic stage. During September and October they sang the following operas in the French language : "Joconde," " Robin des Bois" (Robert the Devil), " Der Frei- schütz," "Jean de Paris," "La Dame Blanche," "Le Macon," "Werther," "Thérèse," "Rendezvous Bourgeois," "Du Solitaire," and " Aremia." The same company performed at the Chestnut Street Theatre in 1828. They presented most of the operas of the previous season. "Mosè in Egitto" was among the novelties brought forward at this time. Mr. Hunt and Miss Phillips, in December, 1828, sang in English operas and in concerted pieces. Diamond's opera of "Native Land" was brought out during this engagement.

Mrs. Austin, a London vocalist, accompanied by C. Horn, Pearman, and Jones, introduced the English opera at the Chestnut Street Theatre, in the season of 1827-28. She performed in many of the old English musical pieces, and during her engagement introduced for the first time on the American stage " Cinderella" in English, with the original music by Rossini, and Dr. Arne's opera "Artaxerxes," in which she took the character of Mandane. Kotzebue's play of "The Cossack and the Volunteer" was pro- duced at the Chestnut Street Theatre in the season of 1827-28 as an opera. It was probably the first Ameri- can opera performed in Philadelphia. The composer of the music was Braun, a member of the theatre

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company, and his wife, who was a singing actress, took the principal part.

Madame Fearon, in December, 1828, came with great reputation from London. Together with Madame Brichta, C. Horn, Signor Rosich, and Signor Angro- sani, they produced the first Italian opera, "La Trionfa della Musica," on the 5th of May, 1829. " Justina," an American opera, by John Clemens, of Philadelphia, was performed at the Walnut Street Theatre in the season 1829-30. The New Orleans French Opera Company was again at the Chestnut Street Theatre in September, 1829. They brought out "La Fiancée," music by Auber; also " La Dame du Lac," and " Le Calife de Bagdad." The French Opera Company came again in 1829. There were some changes. Mrs. Alexandre had retired; Letter- lière was added to the company, with Mesdames Boudoulot and St. Clair. They gave no new operas.

Madame Feron (not Madame Fearon mentioned in 1828) appeared in the fall season of 1830. On the 12th of November was brought out, for the first time, the grand operatie drama of " Aladdin," the character of Nourmahal being sustained by Madame Feron, Aladdin by Mrs. E. Knight, and another by Mrs. Willis. The company was without a principal tenor or bass voice, and much of the music, which was by Bishop, had to be omitted.

The French opera opened in September, 1831, with a fine company, in which were Madame Berdoulet Paradol, Monsieur Des Champs, Madame St. Clair, and M. St. Aubin. They brought out for the first time the opera of "La Muette de Portici" (Masa- niello), by Auber, and his comic opera of " Fra Dia- volo." Masaniello was sustained by M. St. Aubin ; Fenella, Madame Berdoulet; Elvira, Madame St. Clair; Fra Diavolo, St. Aubin ; Zerlina, Madame St. ('lair. During this season were also brought out "Guillaume Tell," by Grétry ; "Le Petit Chaperon Rouge," by Boieldieu ; " Le Barbier de Seville," by Rossini ; " La Gazza Ladra" and " Der Freischütz." Another American opera were brought out at the Arch Street Theatre Jan. 2, 1832. The words and music were by John Clemens, the leader of the or- chestra. It was called " The Fiend and Fairy ; or, the Rock of Utrich." Clemens was the author of the negro song "Coal-Black Rose," which was first sung at the Walnut Street Theatre in 1829, hy William Kelly, and was afterward taken up by George Wash- ington Dixon and others. The air of this piece be- came immensely popular. It was sung in parlors,. hummed in offices, whistled in the streets, and per- formed by bands. No single piece of music had ever been so treated, and it continued in favor long after it had become to those who liked variety a nuisance.

A "national operatic drama," "The Red Branch Knight, written by tieorge Pepper, editor of The Irish Shield, published in Philadelphia, was brought out at the Arch Street Theatre in April, 1832. The music was not original. The tunes were those of old

Irish airs, but the singing of Miss Rock gave great satisfaction.

Mr. Sinclair, the English vocalist, made his first appearance at the Chestnut Street Theatre Oct. 17, 1831, in "Rob Roy." Sinclair was the pride of the English stage at one time, but when be came to America his voice was used up. He brought out during his engagement "The Cabinet," "Guy Man- nering," and other pieces.

The opera of "('inderella" was produced at the Arch Street Theatre, Nov. 28, 1831. Prince Felix, Mr. Jones ; Baron Pompolino, Jolin Jones; Alidor, Rowbotham ; Cinderella, Mrs. Austin ; Clorinda, Mrs. Rowbotham.

Sinclair Reynoldson, a bass singer, from London, and Miss Hughes, appeared at the Chestnut Street Theatre in the spring of 1833, in " Cinderella," " Fra Diavolo," and some other pieces.

A regular Italian opera company, known as the " Montressor Troupe," made its first appearance at the Chestnut Street Theatre, Jan. 23, 1833. This was the first full Italian company that had performed in Philadelphia. The artists were Giovanni Battista Montressor, tenor ; Count Arnaldi, basso ; Fornasari, baritone; Orlandi, buffo; Sapignoli, Pracei, and others ; prime-donne, Signorina Adelaide Pedrotti, Enrichetta Salvioni, Placi, Verduce, Sacomaui. This company sang "Elisa e Claudio," "L'Italiana in Algieri," " Il Pirata," "Cenerentola," " Otello." The houses were good, and fashion began to incline to Italian opera. The leader of the company was Signor Antonio Bagliola; leader of the orchestra and first violin, Signor Micheli Rappetti.

Miss Phillips, a vocalist from London, with Latham, a buffo, Jones, tenor, and Miss Watson (afterward Mrs. Bailey, and a great favorite in Philadelphia), made their first appearance at the Chestnut Street Theatre, December, 1834, in the " Marriage of Figaro," which was not a successful engagement. Miss Watson's voice was a contralto of extensive range.

Mrs. Wood, formerly Miss Paton, and Lady Lennox, of London, her husband, Joseph Wood, a tenor with a sweet voice, and William Brough, a splendid basso, deepened the impression of the merits of opera at their first engagement at the Chestnut Street Theatre, Jan. 18, 1835. They made their appearance in " The Maid of Judah,"-Ivanhoe, Mr. Wood ; Cedric, Brough ; Rebecca, Mrs. Wood. This lady had a magnificent voice, ranging from mezzo-soprano to the highest soprano register. In ability to reach the top of the scale with pure intonation and force she has not been exceeded by other celebrated singers in opera, whether in English, French, or Italian. This company brought out "Cinderella," "Guy Mannering," and, on Febru- ary 14th, for the first time. Bellini's delightful opera " La Sonnambula,"-Amina, Mrs. Wood ; Rodolpho, Brough ; Alvino, Wood ; Alessio, Walton ; Lisa, Mrs. Rowbotham. This opera was a great success. It held the theatre for fifteen nights. The mauagers

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were so much impressed with their good fortune that they commissioned Thomas Sully to paint a full- length portrait of Mrs. Wood as Amina. He pro- duced a splendid likeness, and the picture decorated the lobby of the Chestnut Street Theatre for many years. This company, on the 11th of January, 1841, at the Chestnut Street Theatre, produced, for the first time in Philadelphia, Bellini's opera of "Norma." The translation of the libretto was by J. Reese Fry and William H. Fry, and they gave great attention to the scenery, costumes, and accessories. The chorus num- bered eighty voices. The orchestra, greatly enlarged by the accession of competent amateurs, was com- posed of sixty musicians, and led by Leopold Mei- gnen. The cast was Norma, Mrs. Wood ; Elberta (a new name for Adelgiza), Mrs. Bailey ; Claudian, Wood; Oroveso, Brough. Burton was managing the National Theatre, on Chestnut Street, near Ninth, at this time, and endeavored to snpplant the piece at the Chestnut Street by bringing out another version of " Norma" on the same night, in which Madame Anna Sutton took the principal part. His experi- ment did not succeed. By his tactics he managed to injure the performance by the Woods, which was not financially a success.

On the 15th of October, 1839, a new opera com- pany opened at the Chestnut, with Mrs. Martyn (late Miss Inverarity), Miss Poole, and Messrs. Gubelei, Martyn, and Manvers. The opening piece was " Cinderella," but they brought out on the 21st, for the first time in the city, Beethoven's masterpiece, " Fidelio,"-Leonora, Mrs. Martyn ; Florestan, Man- vers ; Don Pizarro, Guibelei. "La Gazza Ladra" followed.

On the 14th of Jannary, 1838, Miss Sherriff, Mr. Wilson, and Mr. Seguin made their first appearance in the city in "La Sonnambula," which was followed by " Amilie," a piece which had been previously per- formed at the Walnut with great success by Madame Otto, Brough, and T. Wilson. Mr. Horncastle was added to the company during the season. Seguin became popular at once, and held the public favor during many subsequent years of performances.

Among the vocalists who appeared in the concert- room at this period (the Musical Fund Hall being the place) was Madame Caradori Allan, a finished Italian singer. The veteran Braham appeared at Burton's National Theatre in 1840. He had at one time been the boast of the English stage, but was still an impressive shadow of himself. In this en- gagement were performed "Guy Mannering," "The Devil's Bridge," "Love in a Village," "Masaniello," " The Siege of Belgrade," "The Slave," and " The Cabinet." Braham, although passé, was still a fine singer, and managed to hide his defects with consid- erable skill.

The celebrated Italian buffo singer, Signor Giu- seppe de Begnis, for want of a supporting company, sang at the Chestnut Street Theatre May 6, 1842,

giving scenes and costumes. He frequently appeared in concerts afterward.

In November, 1839, Mr. Seguin, who had been pleased with his experiences in the country, came back with his wife, and, with Mr. Latham and Horn- castle, opened at the Walnut Street Theatre, in March, in "Der Freischütz." They played the " Marriage of Figaro," and some other pieces, in English. This was the beginning of the Seguin Opera Troupe, an organization successful for many years. In April, 1844, Mr. and Mrs. Seguin opened at the Chestnut Street Theatre, then under the management of E. A. Marshall. Besides the Seguins, the company consisted of Mrs. Phillips, Shrival (tenor), and Peter Richings, with some others. They brought out " La Sonnam- bula," " Norma," " Anna Boleyn," " Barber of Se- ville," and " Fra Diavolo." In 1845, Mr. Fraser be- came the tenor. Others succeeded during the career of the company. Fraser made his first appearance as Thaddeus in "The Bohemian Girl,"-Count Arn- hein, Brough; Arline, Mrs. Seguin ; Devilshoof, Se- guin, who was an excellent comic actor, and made more out of the part by his drollery than by his singing.

A new Italian troupe was at the Chestnut Street Theatre in February, 1848. It was composed of Si- gnora Biscaccianti (late Miss Ostinelli, a native of Boston), Signorina Amalia Patti,.contralto; Signorina Teresa Truffi, Signoras Lietti, Rossi, and Avogadro ; Signors Rossi Corsi, Benedetti, tenor ; Beneventano, baritone; Avignoni, Arnoldi, Piamontesi, Strini, Morra, bassos; with Lietti and Barili Patti, father of the prima-donna (the lady a fine contralto), and also of Adelina Patti, the famous singer in after-years. This company opened with Donizetti's " Gemma di Vergi." They performed "Lucia di Lammermoor," the hero- ipe by Biscaccianti, who made a great impression ; "Lucrezia Borgia," in which Truffi was much admired. " Ernani," by Verdi, was brought out on the 15th of March with a cast scarcely equaled and never ex- ceeded,-Elvira, Signorina Truffi; Don Carlos, Bene- ventano ; Ernani, Arnoldi; Ruy Gomez da Silva, Rossi. This company was the finest that had yet appeared in the city. They brought out " Il Giura- mento," by Mercadante. A new season of Italian opera commenced on the 6th of June, 1848, with Bis- caccianti as the prima-donna, Signor N. Perelli as the tenor, and Signor Novelli basso, aided by Signor Avignone. It was a short season. The weather was getting too warm for opera. Another company, with Signora Lietta Rossi as prima-donna, Signors Avietti, Rossi Corsi, Sanquirico, and others, tried a short season in the summer at the Walnut. There was more attraction in two members of the orchestra,-Arditi, violinist, and Bottesini, contra-bassist. . They were artists of the highest grade on their respective instru- ments.

Edward P. Fry, son of William Fry, publisher of The National Gazette, and brother of J. R. and W. H.

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Fry, who were engaged in the production of the opera of "Norma" by the Woods, was as enthusiastic a lover of music as the former. Fired with ambition to improve musical taste, he undertook the engage- ment of a company and the production of Italian opera at the Astor Place Opera-House, New York. He brought his company to Philadelphia, and opened the Chestnut Street Theatre, Oct. 14, 1848. There were one hundred and forty persons in this troupe, the chorus being fifty. Fry's company was composed of Signorina Patti, Truffi, Madame Laborde, Bene- detti, Salvator Patti, Valtellina, Monsieur Laborde, Rossi, Guibelei, Du Breul, and Sanquirico. Madame Laborde was a fine singer of the French school, thoroughly cultivated, and possessing talent as an actress. She made her appearance October 6th in Donizetti's comic opera, "L'Elisire d'Amore," as Adina ; Nemorino, Laborde; Belcore, Du Breul ; Dul- camara, Sanquirico. This was charmingly done. Madame Laborde became at once popular, and her sudden success created feelings of jealousy in the company. The Italians, strong in admiration of their countrywoman Truffi, spoke disparagingly of La- borde, who they said was very good in comic opera, but incompetent for any grand part. She had her revenge before the war was ended by an appearance in Norma, in which as a singer she exceeded Truffi, and as an actress far surpassed her in earnestness and intensity of passion. Max Maretzek, afterward for many years a manager of opera, was leader of the orchestra, it being his first appearance in that ca- pacity.

In the summer of 1847 a small Italian opera com- pany opened at the Walnut Street Theatre in "Saffo," by Pacini. It was composed of Signorina Fortunato Tedesco, Signora Sofia Marini, Signora Carandi Da Vita ; tenor, Natali Perelli, L'Bataglani, R. Novelļi, 1 .. Perozzi, and others. During the engagement they performed "Ernani," " I Lombardi," "I Due Fos- cari," "Romeo e Giuletta," and the oratorio of " Mosè in Egitto," at the museum building.

In June, 1845, "Leonora," an original opera, the first truly worthy of the name composed by a Phila- delphian, was brought out at the Chestnut Street Theatre by the Seguin Company. It was composed by William II. Fry. The story was that of " The Lady of Lyons," and the whole of it was put into reeita- tive, solos, dnets, concerted pieces, and choruses. The libretto as well as the music was by Mr. Fry. This piece was produced in elegant style. Mrs. Segnin performed the character of Leonora ; Fraser, of Julio ; Richings, of Claude Melnotte. Seguin and Brunton were in the cast. The leader was Leopold Meignen. This piece had a good run of sixteen nights. The receipts probably were not equal to the expenses.

Madame Anna Bishop first appeared at the Walnut Street Theatre on the 22d of November, 1847, in the character of Norma. During the season she appeared in " Lucrezia Borgia." In her company were Wil-

liam H. Reeves, tenor, Signor Valtellini, and Made- moiselle M. Korsinska.

On Dec. 10, 1850, Max Maretzek commeneed an Italian opera season, the business department of which was conducted by E. L. Walker. Maretzek had a fine troupe. The prime-donne were Teresa Parodi, Appolonica Bertucci (who afterward married Maretzek), and Teresa Truffi, soprano; Amalia Patti and Perrini, contralto; the tenors were Benedetti, Forti, and Lorini; basso, Beneventano, Avignone, Novelli, and Rossi; Sanquirico, buffo. Parodi was a splendid singer, and was for many years afterward popular in the concert-room. The company opened with "Lucia di Lammermoor." "Don Giovanni" was performed for the first time in Philadelphia,-Donna Anna, Truffi ; Zerlina, Bertucci; Donna Elvira, A. Patti ; Don Giovanni, Beneventano; Don Ottavio, Forti ; Leporello, Sanquirico; Commandatore, Rossi. This opera of Mozart's, requiring three competent prime-donne, had never before been performed in the city. Parodi appeared during the season in the characters of Lucrezia Borgia, Norma, Elvira, and Gemma di Vergi. The opera of "Parisina" was brought out for the first time, also " Il Giuramento." This was a splendid season in the character of the performances, but probably not remunerative to the management.

Pader's Havana Opera Troupe appeared at the Chestnut Street Theatre in September, 1850. It was the finest company that had visited the city. The male performers were of the highest rank. Salvi, a tenor, was famous throughout Europe; C. Badiali, a bari- tone, possessed a voice of pure melody from the lowest to the highest notes ; Marini, the basso profundo, had a deep voice of noble power. The sopranos were Steffanone and Bosio. The former was an actress of great power in tragic parts. The latter had a voice that was clear and silvery. Signora Vietti, the con- tralto, was very competent. The second tenors, Lo- rini and Vietti, were of the first class, and Tedesco was in the troupe. This company presented no new operas, but the works performed were perfeet in all respects.

Max Maretzek brought his Italian Opera Company to the National Theatre, Chestnut Street, in Sep- tember, 1851. It was composed of Bosio, prima-donna, Steffanone, Truffi; Signor Bettini, tenor; Badiali, baritone; Coletti, basso. Salvi, Rossi, and Marini were in this company, and Miss Virginia Whiting, who afterward married Lorini, made her first appear- ance in Philadelphia. Madame Rose De Vries, a superior artist, made her debut in the city at this time as Norma. Maretzek brought out no new pieces, but performed with great acceptance " old favorites."

Madame Anna Thillon and Mr. Hudson began an engagement at the Chestnut Street Theatre in Oc- tober, Isol. There were no other professional singers connected with them except Mr. F. Meyer, a basso. Madame Thillon was a very pretty woman, and better

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MUSIC, MUSICIANS, AND MUSICAL SOCIETIES.

as a light-comedy actress than as a singer. Hudson was usually an actor of Irish parts, who had a fair singing voice. They drew very well ; their principal pieces were "The Crown Diamonds," by Auber, now first done in English, "The Daughter of the Regi- ment," "Black Domino," and "The Enchantress."

The celebrated European contralto, Marietta Alboni, made her first appearance in Philadelphia, Feb. 27, 1853, on the stage of the Walnut Street Theatre, and appeared for four nights, as Marie, in " La Figlia del Reggimento," Cinderella, Amina, Norma, and Rosina. She gave some successful concerts at Musical Fund Hall.

Madame Anna Bishop, at the Walnut Street The- atre, in June, 1853, introduced Augustus Braham, son of the famous John Braham, as a tenor singer.

Caroline Richings, adopted daughter of Peter Richings, who had been on the stage for a period as an actress, determined to perform in opera. She made her début Feb. 9, 1852, as Marie, in " The Child of the Regiment." The cast included Thomas Bishop and Seguin. During an engagement, which was con- tinued a short time afterward, she appeared as Adina, Amina, Linda, Norma, Madelaine, in the " Postilion of Lonjumeau," and Louise Muller, in an opera founded upon a composition of Schiller. This lady afterward, as a member of opera companies and manager of others, under her maiden name and that of her hus- band, Pierre Bernard, sang in nearly every theatre and opera-house in the country.

Madame Anna Bishop, with Augustus Braham, sang at the Walnut Street Theatre in December, 1853. Rosa Jacques sang with her, and Mrs. Barton Hill, and Messrs. Guidi, Leach, Strini, and Rudolph. During the engagement, on December 10th, was pre- sented for the first time in Philadelphia Von Flotow's opera of "Martha," adapted for the English stage by Mr. Bochsa,-Lady Harriet, Madame Bishop ; Nancy, Rosa Jacques ; Plunkett, Leach ; Lionel, Braham. " Martha" was quite attractive, and had a run of ten nights.

Madame Henrietta Sontag, Countess Rossi, a Euro- pean celebrity, gave her first concert at Musical Fund Hall, Oct. 14, 1852, assisted by Badiali, Pozzolini, Rocco, Paul Julian, Carl Eckert, and Alfred Jael. In the succeeding spring Sontag, with Pozzolini, Rossi, and others, performed in a series of operas at the National Theatre with great success.

The Louisa Pyne English Opera Troupe made its first appearance Oct. 20, 1854, at the Walnut Street Theatre. Miss Pyne was an Englishwoman, and a singer of taste and excellence. W. Harrison was the tenor, Borrani and Mr. Meyer the bass, and the second soprano parts were executed by a sister of the prima-donna, known on the bills as Miss Pyne. They brought out a pleasant variety of pieces,-" The Bohemian Girl," " Maritana," "Crown Diamonds," " Fra Diavolo," and a work that had not been heard in the city for many years, Gay's " Beggar's Opera,"

-Capt. Macheath, Harrison ; Mat of the Mint, Borrani ; Peachum, Whiting ; Polly, Louisa Pyne; Lucy, Mrs. Ada King.

The world-renowned prima donna, Madame Giulia Grisi, and the equally celebrated tenor, Signor Mario, performed at the Walnut Street Theatre, Jan. 2, 4, and 6, 1855. They opened with Bellini's opera of " I Puritavi,"-Elvira, Madame Grisi ; Lord Arthur Talbot, Mario; Sir Richard, Badiali; Sir George, Susini; Lord Walter, Signor Candi ; Henrietta, Madame Mona. This was a good company, and there was a competent chorus. The artists sang with great effect. They afterward appeared in " Norma" and " Lucrezia Borgia."

The last operatic performances in the Chestnut Street Theatre took place in September, 1854, under the management of Max Maretzek. The company included among the prime-donne Signora Manzini, Madame Bertucca-Maretzek, Signora D'Ormy, Sig- nors Badiali, Graziani, Coletti, Taffanelli. They per- formed " Maria de Rohan," "Louisa Miller," "I Puritani," " Lucrezia Borgia," " Lucia di Lammer- moor," and " La Muette di Portici."

Rosalie Durand (real name Durang, and a daughter of Ferdinand Durang, an actor), who graduated as a dancer at the Chestnut Street Theatre, performed for a short season with a company of rather indifferent material, first appearing at the City Museum, June 11, 1855. On the 14th of January, 1856, the Paine Italian Opera Troupe, so designated after the name of the manager, appeared at the Walnut Street Theatre in "Lucrezia Borgia." This was a company of more than ordinary merit. It embraced Madame Anna de la Grange, a vocalist of the finest reputation, Mad- emoiselle Nantier Didiee. On this occasion first ap- peared in Philadelphia Signor Pasqualino Brignoli, who held the position of leading tenor on the operatic stage for a quarter of a century following; Elise Hens- ler, contralto, also for the first time; Signor Amodio, " fat and funny," the finest baritone of his period. This company opened in " Il Trovatore," the first per- formance of that opera in Philadelphia. This was a season of only two nights. The second performance was "Norma," the Priestess by Madame de la Grange ; Adelgiza, Miss Hensler. Salviani, a new tenor, made his appearance as Pollione. This company performed two weeks in February and March, presenting "Lu- crezia Borgia," "Linda di Chamounix," " Lucia di Lammermoor," "Don Giovanni," "La Favorita," and " I Puritani."

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History of Philadelphia, 1609-1884, Part 55

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