Standard history of Pittsburg, Pennsylvania, Part 105

Author: Wilson, Erasmus, 1842-1922; Goodspeed, Weston Arthur, 1852-1926. cn
Publication date: 1898
Publisher: Chicago : H.R. Cornell & Co.
Number of Pages: 1192

USA > Pennsylvania > Allegheny County > Pittsburgh > Standard history of Pittsburg, Pennsylvania > Part 105

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Nearly all the churches built before the Rebellion assumed the Gothic style; very few innovations were made. It remained for subsequent years to see introduced the Romanesque in church architecture. Now it is common to see Romanesque and Gothic blended, not only in churches, but in school and other public buildings. Some of the handsomest churches of the city at the present day are of the French chateau style on a Romanesque basis. In resi- dences the French chateau is often found blended with Colonial or Queen Anne features. In fact in Pittsburg, as in all other American cities, is to be seen a sur- prising confusion of architectural styles. Often in the same building there are used primary principles from half a dozen styles. Where richness of orna- mentation is sought for the French Renaissance is employed, as is shown in the beautiful Bank of Pittsburg and in many other buildings. Where rugged strength is desired no style surpasses the Norman Romanesque, as is shown in the Courthouse, the Carnegie Library buildings and in many business blocks. These buildings show all the excellences of the style, and are a credit to the architect and the cities. It is claimed that Mr. Richardson, who designed the Courthouse and other buildings, so changed and perfected the Norman Roman- esque as to create a distinct style. The massive strength, noble outlines and rich ornamentation of these structures place them in a class clear, defined and separate from all others. The architecture of the Postoffice will bear no comparison with that of the Courthouse. It seems confused, indefinite, and lacks the wonderful symmetry of the latter. The façades of many of the busi- ness blocks are rich and creditable, and will bear comparison with similar build- ings in the other large cities of the United States. Many of the buildings erected thirty years ago are of the Italian style, and look rich in comparison with the massive Norman Romanesque. The First National Bank building looks well from comparison. Commercial architecture is represented in the Carnegie and the Park buildings as types. If America has designed any distinct style it is the Commercial as represented by a steel skeleton base, ornamented with band courses, bays, colonnades, etc., from the older styles. Iron fronts were first used in Pittsburg back in the forties, and were made complete by Pennock & Hart and others, and were first common in the fifties, but at that time they were largely incidental or ornamental. It remained for later years to introduce steel as a structural feature for the purpose of carrying brick, stone and terra cotta to conceal the skeleton. The purpose of Commercial architecture is utility, and such buildings will eventually be almost wholly steel and glass, to save space and furnish the greatest amount of light. American architecture therefore is technic; all other is copied.

Real estate transfers in 1896, despite the hard times, reached a grand total of nearly $15,000,000. The expiration of the Schenley leases is an important

876

HISTORY OF PITTSBURG.

event, and will continue from time to time. More than 5,000 buildings have been erected on this estate.

The question has been propounded whether real estate in Pittsburg has advanced in value in the last few years or not. The opinion of Controller Gourley is that property values, taking the whole city, have receded. This view in part is confirmed by a comparison of the cash valuation of taxable prop- erty made in 1894 with the same of 1897. The total of three years ago figured up $279,811,033. The present result of the officials concerned foots up $295,- 316,262. But for city real estate proper, the footing for 1894 is $209,038,452, whilst for 1897 it is only $189,101,172. This difference is accounted for by the allowances for agricultural and rural properties. The Twentieth Ward showed up three years ago as having $8,320,000 of rural property, and at present that is put down as worth $23,658,000. The total of this ward is now nearly five millions smaller, and its full, or urban property, some eleven millions less than three years ago. The Fourteenth Ward has remained nearly stationary in its total valuation between the two periods considered. But its full rating has changed from nearly $12,000,000 to $6,700,000 (a).

The report of Building Superintendent J. A. Brown for the year 1897 showed a decided increase in building operations in Pittsburg over the previous year. Up to the middle of December permits for new buildings were issued to the number of 1,532, at a total cost of $6,031,518, irrespective of additions, alterations and repairs, which, of course, would swell the total. October was the banner build- ing month. The table by months follows:

Buildings.

Cost.

January

$ 202,525

February

139,852

March ..

I42

293,42I

April.

I53

361,643

May

183

703,844

June.

149

568,821.

July

IO0

323,475

August.

I53

594,158

September

I76

722,950

October

I76

1,177,087

November.

I44

942,342

December (estimated)

265,000

Totals.

1,612

$6,295,118

1897, completed

The County Commissioners, the last of June, their report to the State, showing the number of taxables in the county, the value of real estate and other property and the amount to the State, showing the number of taxables and other property and the amount of taxes levied. The number of taxables was as follows: Pittsburg, 92,537; Allegheny, 37,118; Mckeesport, 8,055; boroughs, 43,207; townships, 40,977, making a total of 221,894. The value of all real estate is divided as follows: Pittsburg, $269,986,715; Allegheny, $86,599,140; Mckeesport, $13,397,720; bor- oughs, $62,554,970; townships, $7.1,455,130; total, $503,993,675. Of the above the following amounts are taxable: In Pittsburg, $233,431,285; Allegheny, $74,720,360; Mckeesport, $12,395,440; boroughs, $58,289,740; townships, $60,266,445; total, $439,103,270. Pittsburg has $36,555,430 exempt from tax- ation; Allegheny, $11,878,780; Mckeesport, $1,002,280; boroughs, $4,265,230; townships, $11, 188,685; total, $64,890,405. The number of horses and their

(a) Chronicle Telegraph, January, 1898.

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HISTORY OF PITTSBURG.

value in the county is as follows: Pittsburg, 7,163, valued at $504,730; Allegheny, 3.038, $235,995; Mckeesport, 571, $27,645; boroughs, 3,612, $167,175; town- ships, 13,403, $660,890; total number, 27,787; aggregate value, $1,596,435. Pitts- burg has 1,479 cows, valued at $29,890; Allegheny, 576, valued at $12,760; Mckeesport, 114, valued at $2,340; boroughs, 1,488, valued at $31,705; town- ships, 15,037, valued at $302,165, making the total number 18,694, and the aggregate value $378,860. The money earned at occupations is as follows: Pittsburg, $22,386,400; Allegheny, $9,719,600; Mckeesport, $1,324,600; bor- oughs, $7,556,065; townships, $5,710,360; total, $46,697,025. Pittsburg has $256,- 395,610 taxable property; Allegheny, $84,712,435; Mckeesport, $13,756,200; bor- oughs, $66,061,175; townships, $66,940,615; total, $487,866,035. The following shows what the county tax amounts to: Pittsburg, $512,791.22; Allegheny, $169,- 424.87; Mckeesport, $27,512.40; boroughs, $132,122.35; townships, $133,881.23; total, $973,732.07. In Pittsburg the State tax amounts to $187,676; Allegheny, $73,066.64; Mckeesport, $3,964.56; boroughs, $31,425.98; townships, $32,396.30; total, $328,469.48.

Soon after the Revolutionary War a racetrack was prepared on the north- east of Pittsburg, and for many years was the source of amusement for lovers of racing and an eyesore to the churches. Usually three prizes were offered; one of $40, one of $60 and the sweepstakes. The entrance money was usually $4 on the first day, $3 on the second and $1 on the third. . The papers of that day spoke of the track as being "over a handsome course near this place." Races were usually run in two-mile heats at catch weights, free to any animal, agreeably to the Pittsburg Jockey Club rules. This club had been organized as early as 1788, and for twelve or fifteen years continued in existence. In 1801 the track having been removed, William Irwin, who felt aggrieved at a decision of the club, said "that neither justice nor pleasure could be expected from the races at Mckeesport, held under the auspices of the Jockey Club." He claimed that his horse Dancing Master had won the first race and the purse of $60, and that the judges had unfairly decided against him. In October, 1801, the Gazette said:

"But the great evil is the collection into the town of the most disorderly and unprincipled from all quarters, in their worst habits and moods, with our youth exposed to the contagion of their example and their importation of frauds, tricks and debaucheries left among us, while our schools and shops are shut up or deserted, and the youth of both sexes run to harm, folly and debauchery at this fruitful seminary of all vice. The money, too, which ought to be expended in the honest maintenance of families and payment of debts is squandered on sharpers, gamblers, sutlers, etc., etc., and the laws of the State and the bor- cugh openly violated and cast into contempt. I am sure these practices are detested by the sound and sober part of the borough. Let all unite in dis- countenancing and suppressing them, and let the magistrates of the State and the borough, if they wish this place to have any reputation for decency, sobriety and industry, exert their authority, carry the laws into execution against these corruptions of manners and morals, and drive these gross dissipations out of our bounds."

The earliest citizens of Pittsburg brought with them from the East their love for theatrical entertainments. Accordingly, they began at an early day to give public performances under the management of military men or local ama- teurs, and lawyers and doctors were usually the leading characters. In April, 1790, the officers of the garrison gave a theatrical representation of the tragedy "Cato," followed by the farce "All the World's a Stage." It was announced that the entertainment would take place "at the theater in the garrison."

878

HISTORY OF PITTSBURG.

In February, 1803, the young gentlemen of the town presented a comic opera entitled "The Poor Soldier," followed by the farce "The Apprentice," at the Courthouse, to a large assemblage. The price of admission was seventy- five cents for the box and pit, and fifty cents for the gallery. Tickets were for sale at Mr. Scull's printing-office. It was announced that the curtain would rise precisely at half-past six o'clock. This performance was repeated by special request for benevolent purposes.

In January, 1803, Messrs. Bromley and Arnold, assisted by a number of young gentlemen of the town, presented "The Gamester," and were well pat- ronized. About this time Messrs. Delile & Co. entertained the citizens with philosophical experiments and empiric fireworks at the Courthouse. About this time, also, Mr. and Mrs. Gette, of Baltimore, exhibited at the house of John Reed, innkeeper, life-sized figures of Franklin, Bonaparte, Voltaire, the sovereigns of France and England, the Prince and Princess of Wales, the Sleep- ing Beauty, the Old Bachelor, the Old Maid, etc. Price of admission twenty- five cents; children half price.

At the commencement, dancing-masters were well patronized by the citizens of Pittsburg. Scarcely an old copy of the Gazette can be picked up without finding the notice of some dancing-master. Mr. Blackmer conducted a dancing class at Reed's ballroom in 1802. About the same time Blondel D. St. Hilaire opened a dancing-school and advertised that he would teach the minuets, par- ticularly the De la Cœur minuet, and every popular French and English dance, and that subscriptions to his class would be received at Scull's printing-office.

Mr. Cuming wrote in 1808 that there were here two dramatic societies- one of law students and one of respectable mechanics. Often the two societies united to produce something strong. The entertainments were given in the "great room" of the Courthouse, and owing to the contiguous jury rooms to serve as green or dressing rooms, excellent facilities were furnished to the actors. Mr. Dearborn was useful as a machinist, dresser, scene painter, shifter or actor, and was particularly good in the part of the garrulous Mrs. Bulgruddery in the play of "John Bull." William Wilkins excelled in genteel comedy; Mr. Johnston did justice to the part of an Irishman; Mr. Haslet made an excellent Yorkshire farmer or country squire; Mr. Linton in low comedy was the leader of Pittsburg, and Mr. Van Baun, it was declared, "would be an ornament to any established theater, either in the sock or buskin, he being equally excel- lent in Octavian as in Fribble." Men who essayed female parts made a lament- able failure. "On the whole, however, the dramatic societies exhibit in a very respectable manner a rational entertainment to the inhabitants of Pittsburg about once monthly during the winter." Even as early as 1808, according to Mr. Cum- ing, companies of actors from the Eastern cities came here to perform, and he speaks of there having been here a small theater, meaning, presumably, a hall, other than the Courthouse, in which theatrical entertainments were given.

In September, 1812, a Mr. Webster, who claimed to be a celebrated actor from Europe, and recently from Philadelphia, assisted by the citizens, per- formed a musical piece entitled "Variety, or the Songster's Jubilee," followed by "The Exile of Erin," at Mr. L. Peter's large room. The admission price was seventy-five and fifty cents. Previous to 1813 the Thespian Society, con- sisting of a number of young ladies and gentlemen of Pittsburg, was organized for the purpose of improvement in theatrical work. In February, 1813, they rendered "Isabella, or the Fatal Marriage," followed by a comic farce in two acts, entitled "Sprigs of Laurel, or the Rival Soldiers." At a later date they presented the play "She Stoops to Conquer." In May, 1813, Jerome and Clarke exhibited a museum of waxworks, representing prominent historical figures. In November, 1813, the Thespian Society entertained the public with "Venice

879

HISTORY OF PITTSBURG.

Preserved, or A Plot Discovered," "Liberty or Death," "Matrimony," etc. Among those who took prominent part were Messrs. Jones and Kennedy and Mesdames Turner, Toige and Cipriani. In September, 1813, the society pre- sented "Ways and Means," "The Hunter of the Alps," "Merchant of Venice," "Pizarro, or the Death of Rolla," "Of Age To-morrow," "Romeo and Juliet," "The Highland Reel," "The Apprentice," "Lovers' Vows, or the Natural Son," "Love a la Mode" (written by Charles Macklin, Esq.), "Douglas, or the Noble Shepherd," "Raising the Wind, or How to Live Cheap," "The Man of Forti- tude, or the Mysterious Castle," "Love Laughs at Locksmiths," etc. At this time the Thespian Society was conducted by a board of managers, and many of the brightest and most prominent residents, particularly from among the young people, took part in the performances. The theater was under the Masonic Hall on Wood Street. Messrs. Robertson and Williams were connected with the Thespian Society at that time.

In 1814 Messrs. Pepin, Brishard and Cayetano conducted a circus in Pittsburg, one of the first, if not the first, ever brought to the town. In 1816 Alexander Brackenridge was president of the Thespian Society of actors, and continued as such for several years. In May, 1819, the society played for the benefit of the Eagle Fire Company, and netted a considerable sum: In 1818 a "grand exhibition of living animals," consisting of a lion, ape, pelican, African crown bird, marmoset of Barbary and others, was exhibited on the Diamond.

In November, 1818, the young gentlemen of the Thespian Society, in the absence of professional actors from the East, presented the play entitled "Cure of the Heartache," followed by the farce "The Wag of Windsor," which was well received by the ladies and gentlemen of Pittsburg. It seems that the young ladies and gentlemen of the city at this time organized the Dramatic Benevolent Society, for the purpose of assisting the poor and unfortunate of this locality, and during the winter of 1818-19 they gave several entertainments to crowded houses, and raised a considerable sum of money for that purpose. In September, 1818, Vincent Dumilieu and Professor Herbert, from Paris, give exhibitions of "the magick art," among which were the feats of swallowing a sword twenty-two inches long, and of the silver needle. These entertainments were given before the Dramatic Benevolent Society, and consisted principally of legerdemain. In January, 1819, the Dramatic Benevolent Society presented "A Poor Gentleman," "The Boarding-House," "The Sleep Walker," etc.

In March, 1827, the "Fifth Street Museum," which had a short time previ- ously been established, was under the management of Messrs. Smith and Rainey. It is not improbable that this museum was the one afterward conducted so suc- cessfully by James R. Lambdin. At any rate, in 1828, "Lambdin's Museum" was the most prominent spot in the city for amusement lovers to congregate. Mr. Lambdin, from time to time, collected many curiosities, and for many years his es- tablishment enjoyed a fair degree of prosperity. Connected with his museum was a gallery of paintings, which he had managed to collect, and which represented the best American talent. He was himself an artist, and was ranked among the leaders of that day. In 1830, at his museum, was exhibited for the first time in Pittsburg an Egyptian mummy.

"It is proposed to build a theater at Pittsburg. A committee has been appointed to receive subscriptions" (b). In 1826 a subscription list was circu- lated for the purpose of securing means to buy a theater lot upon which a suitable building should be erected. James S. Stevenson headed the list with the largest subscription. He gave more than $500. James S. Craft subscribed $500; Alex- ander Johnston, $200; Benjamin Darlington, $200; Abishai Way & Co., $200;

(b) Niles Register, December 3, 1825.

880

HISTORY OF PITTSBURG.

James Correy, $200; William McKnight, $200. The property selected was on Fifth Street, and was owned by William McKnight. The subscribers appointed Mr. Stevenson as agent to secure the property on their behalf. This he did, taking the property in his own name, but, for some reason, he refused, in 1829, to convey the property to the subscribers. The controversy was finally settled in the courts. In January, 1832, George A. Cook, W. M. Carlisle, R. H. Douthett, C. F. Spang, M. B. Miltenberger, W. W. Fetterman, Cornelius Dar- ragh, Samuel Fahnestock, Robert Riddle, Samuel Roseburg, Thomas S. Clarke and Robert Scheyer were elected directors of the Pittsburg Theater for the ensuing year. The new theater building on Fifth Street was ready for occupancy in September, 1833. A London artist was employed to prepare the stage scenery. The lease was given to Fras. C. Wemyss, who at once organized a stock com- pany, and was prepared in September of that year to support any artist of note who would come here from the Eastern cities or from Europe. It was announced by the manager that among those who had been engaged for the season were Edwin Forrest, the great American tragedian; Mr. and Mrs. Hilson, Miss Clara Fisher, Mrs. Knight and Mr. J. R. Scott, all of whom had attained prominence in the Eastern cities.

"The Theatre .- General complaint is made that the manager of this affair treats his audiences with a great degree of contempt; that he takes their fips and levies without giving them bellowing to the amount agreed upon in return. It appears that the manager makes the Pittsburg Theatre the drill ground for the awkward squad, and as soon as the stage-struck boy is 'put to trap' and has learned when to speak low and when loud, when to roll up the eyes, and when to clasp the hands expressive of love, anguish, etc., he is packed up and directed to the Chestnut Street theatre, and a Johnny Raw is pressed to do duty in his stead. It would appear that this game has been going on for some time, and that our theatrical critics have only lately made this discovery. 'Our sufferings is intolerable!' the theatre-going folks might exclaim. We would advise the manager to close his doors and sell out. That is the only plan we see open for adoption by way of remedy" (c).

The erection of the new theater in 1833 was the signal for the appearance here of the most prominent actors of this country and of Europe. After that date, with the exception of occasional suspensions, theater-goers of Pittsburg were entertained as well as were those of the Eastern cities.

Mr. Wemyss continued in charge of the theater until April, 1841, when Mr. and Mrs. J. G. Porter assumed the management and endeavored to conduct it successfully, but after a short season were obliged to relinquish it. Mr. R. Smith, a native of Pittsburg, did their artistic painting.

Mr. W. Dinneford, who had previously managed one or more theaters in the Eastern cities, took control of the Pittsburg Theater, and in October, 1841, opened with a strong stock company. The opening play was the "Lady of Lyons," following which came "The Stranger," "London Assurance," "School for Scandal," "Much Ado About Nothing," and, in fact, the whole range of plays presented to the theater-goers of that day. Among the stock company were Mr. Logan and Mrs. Hunt. During the intermission the people were entertained with music by a competent orchestra. C. H. Eaton was a prominent tragedian connected with the stock company. "For several years theatricals in this city have been carelessly and badly conducted, and, as a matter of course, the drama was sinking in public estimation, and brought misfortune and ruin to the managers. The present effort promises great improvement and reforma- tion" (d). "'The London Assurance' was played on Saturday for the first time

(d) Mercury and Democrat, October 27, 1841.

DHtoiletter

881

HISTORY OF PITTSBURG.

in a style which reflects the highest credit upon the manager and all his people. The piece was repeated to full audiences on Monday and Tuesday, and will be reproduced again to-night" (e). In November, 1841, after about two months of success here, Mr. Dinneford took his entire stock company to Cincinnati, where he presented the same plays that had so entertained the citizens of Pitts- burg.

It was during the thirties that Jim Crow Rice appeared in Pittsburg for the first time. He carried everything before him like a storm. Ethiopian melody received such stimulation at his hands that it sprang into immense popularity, and the houses were not capable of holding the crowds that assembled to hear him. "How many are there who remember 'Griffith's Corner' and the celebrated row that Rice, with his fine improvising talent, reproduced next night on the stage, and out of the very brawl of which, 'the bloods of dis town' were the authors and himself the rogue and sharer, read to themselves a wholesome moral lecture, and, while he flattered their gallantry, made them ashamed of their rowdyism?" There is little doubt that the popularity given to Ethiopian melody by T. D. Rice had much to do in directing the early musical genius of Stephen C. Foster. The latter composed his first song soon after 1840, and issued his first great successes, "Uncle Ned," "Louisiana Belle" and "Oh, Susanna," about 1845. While his musical genius was extremely versatile, the demands of the times could not be disregarded, and he accordingly wrote many of his best Ethiopian melodies during the forties and fifties. The demand was greater than the supply, and at all times he was solicited to furnish new songs for the burnt-cork artists. Several Ethiopian companies were organized in Pittsburg, composed either partly or wholly of home talent, and among their most popular songs were the melodies of Mr. Foster. The Sable Harmonists and the Ethiopian Melodists were two companies well remembered to this day by the old citizens. "Jim Crow Rice" first appeared here about 1832, when Mr. Foster was a boy, and when his musical genius was undergoing development. It was but natural that young Foster should keenly appreciate and enjoy the jokes, songs and delineation of the negro character by the popular Rice. It may be presumed that not only was the musical taste of Mr. Foster turned by Rice and others in the direction of Ethiopian melody, but that the wave for that sort of music which swept over the country carried him on its crest until he was forced to supply the demand. His first compositions were pastimes and naturally took the direction of the popular taste. The fact that he could break through the wave and write such songs as "Gentle Annie," "Old Dog Tray," "Ellen Bayne," etc., proved the versatility of his genius. Had classical music swept the country as Ethiopian melody did, his compositions would have taken that form. Sentimental songs were not unpopular, and thus it is found that several of his best compositions belong to that branch of music.

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Standard history of Pittsburg, Pennsylvania, Part 105

Author: Wilson, Erasmus, 1842-1922; Goodspeed, Weston Arthur, 1852-1926. cn Publication date: 1898 Publisher: Chicago : H.R. Cornell & Co. Number of Pages: 1192

Author: Wilson, Erasmus, 1842-1922; Goodspeed, Weston Arthur, 1852-1926. cn
Publication date: 1898
Publisher: Chicago : H.R. Cornell & Co.
Number of Pages: 1192