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HISTORY AND DESCRIPTION 
 
 O t T U E 
 
 OPERA HOUSE 
 
 oa 
 
 American jakmg of HIirsit f 
 
 In Philadelphia. 
 
 PESi'iNEIi AND COSSTRl'CTEH BT 
 
 N. LE BRUN and G. RUNGE 
 
 Architects. 
 
 Corner Stone laid on tli<- i<->th of Julj . ISio. 
 Building tomjilft"! and opened on the 2r5tli uf January, 1«S7 
 
 PHILADELPHIA: '"..• 
 
 G- ANDRE & CO. FOREIGN & AMERICAN MUSIC DEPOT. 
 306 Chestnut Street, above Eleventh. 
 
 Also for Sale at LEE & WALKER'S 188 Chestnut Street, 
 
 and BECK i. LAWTON'S Seventh and Chestnut Sts. 
 
X It) AW 
 
 Entered according to Act of Congress, In the year 1857 
 
 Bt G. ANDRE & CO. 
 
 In the Clerk's Office of the District Court of the United States, in and for the Eastern 
 District of Pennsylvania. 
 
 
HISTORY OF THE BUILDING. 
 
 The inhabitants of the city of Philadelphia, so long as they have 
 been known to the world, have always borne the reputation of being 
 one of the most conscientious, sober-minded, and plain-thinking com- 
 munities. Being originally a colony of Quakers, the spirit of these 
 religious philosophers exercises, to the present day, its influence on 
 the minds of the citizens in general. Thus it has happened, that, 
 while the city was growing to a considerable size, and was taking its 
 place in the ranks of the first commercial communities, its inhabitants 
 still retained an excessive, love for the cultivation of tbeir firesides, 
 and an indisposition to support places of public amusement. 
 
 However laudable this may be in one respect, it has certainly been 
 productive of great disadvantages, morally and physically ; for it was 
 owing to this circumstance that those places of amusement which ex- 
 isted, and always will exist in a large community, were of an inferior 
 kind, where sensual gratification was in more repute than mental re- 
 finement; so that an individual, whose natural inclination was in 
 opposition to a quiet life at home, was placed in much greater danger 
 of becoming demoralized, than if our citizens possessed some really 
 respectable and well conducted public establishments. 
 
 It is only of late that a movement in this direction is noticeable ; 
 but, simultaneous with it, it became apparent to every interested per- 
 son, that there was not a single theatre in Philadelphia, worthy to 
 represent the intelligence and refinement of a city of over five hundred 
 thousand inhabitants. All the principal points, viz. : spaciousness of 
 accommodations, free exits, ventilation, etc., were sadly neglected; 
 and it must be said, that up to the present moment, Philadelphia had 
 not a single theatre in which a visitor co,uld find anything equivalent 
 to the comfort, cleanliness, and safety to which he was accustomed at 
 home, to say nothing of the exhibition of those miserable farces, so 
 frequently and impudently brought before the public, to the disgust 
 
 rs) 
 
HISTORY AND DESCRIPTION 
 
 of every cultivated mind, and the demoralization of youth. At length, 
 after several unsuccessful efforts had been made to raise funds neces- 
 sary for the construction of a first class Opera-house, there appeared 
 a pamphlet, (May, 1852,) setting forth the "Charter and Prospectus 
 of the Opera-house, or American Academy of Music, in Philadelphia," 
 with an appeal to our wealthy citizens to subscribe to the stock of the 
 compan} T , under conditions laid down in the charter. 
 
 A number of gentlemen were appointed commissioners to receive 
 subscriptions, but so great was the difficulty they encountered, that 
 they almost hopelessly renounced the task, when the present Board of 
 Directors was formed, whose names will be given hereafter. Much 
 praise is due to these gentlemen for their continued and persevering- 
 efforts to accomplish the object, as the sum required was large, and 
 the general spirit of the citizens very reluctant. In the month of 
 October, 1854, they published a notice to architects, inviting them to 
 prepare plans for an Opera-house, to be erected at the south-west cor- 
 ner of Broad and Locust streets in the city of Philadelphia. The ex- 
 ternal dimensions of the building were to be 150 feet front on Broad 
 street, by 238 feet depth on Locust street, of a simple but imposing 
 style of architecture, the material to be brick, with brown stone or 
 cast iron dressings, etc., etc. 
 
 As such an interesting problem is seldom offered to architects, 
 there was great anxiety manifested among them, and the ablest artists 
 from Philadelphia, New York, and Boston, entered the contest. 
 
 On the 15th of December, 1854, the several designs, fifteen in 
 number, were received by the Building Committee, consisting of the 
 following gentlemen : 
 
 john'b. budd, 
 
 President of the Board of Directors. 
 
 George S. Pepper, 
 
 Chairman of the Building Committee. 
 
 Frederic Graff, James C. Hand, 
 
 Samuel Branson, John P. Steiner, 
 
 who, together with the following gentlemen, constituted the Board 
 
 of Directors : 
 
 Charles IT. Fisher, Lyon ,1. Levy, 
 
 Isaac S. Waterman, I'. .1. Dreer, 
 
 James Traquair, Fairman Rogers. 
 
 After a long and careful examination of the numerous plans, sections 
 and elevations before them, the several architects hiving personally 
 described their designs, the committee decided at last in favor of the 
 one submitted by Messrs. N. Le Brun & G. Bunge, architects of 
 
OF THE OPERA-HOUSE. 
 
 Philadelphia, (on the 12th of February, 1855,) who were instructed 
 immediately to prepare detailed drawings and specifications, so as to 
 enable the Building Committee to take further active steps in the 
 matter. Such was the care and scrutiny of these gentlemen, that a 
 model was required to be made of the whole interior of the auditorium, 
 in accordance with the plans and calculations of the architects, so as to 
 perfectly demonstrate the qualities of the house in respect to the facil- 
 ity of vision. 
 
 This model was publicly exhibited in the Merchants' Exchange, (on 
 the 20th of April, 1855,) and a renewed appeal made to the liberality 
 of our citizens, the committee being determined not to enter into any 
 contracts for the erection of the building, before the requisite amount 
 of stock (§250,000) was fully made up. 
 
 This being at length accomplished, in spite of many difficulties, and 
 the discouraging experience of similar enterprises in New York, 
 proposals were invited, and a contract made with John D. Jones for 
 the principal construction of the building. 
 
 The first spade was put into the ground on the 18th of June, 1855, 
 and the corner-stone laid with the usual ceremonies on the 26th of 
 July following. In a cavity formed in the stone were deposited the 
 ordinary papers referring to the building, the newspapers of the day, 
 the coins of the United States, and a silver plate with the following 
 inscription : 
 
 AMERICAN ACADEMY OF MUSIC. 
 Corner-stone laid on the 26th of July, 1855. 
 
 Franklin Pierce, President of the United States. 
 James Pollock, Governor of the State of Pennsylvania. 
 Robert T. Conrad, Mayor of the City of Philadelphia. 
 
 DIRECTORS. 
 
 John B. Budd, John P. Steiner, 
 
 Charles Henry Fisher, Isaac S. Waterman, 
 
 Geo. S. Pepper, James Traquair, 
 
 Frederick Graff, Lyon J. Levy, 
 
 James C. Hand, F. J. Dreer, 
 
 Samuel Branson, Fairman Rogers. 
 
 ' ' \ Architects. 
 
 G. Runge, ) 
 
 Charles Conard, Superintendent. 
 
 John D. Jones, Contractor. 
 
G HISTORY AND DESCRIPTION 
 
 After the stone was laid in its place, the Hon. K. T. Conrad, then 
 Mayor of our city, made a short, but impressive speech, referring to 
 the importance of the enterprise, and the beneficial results to be an- 
 ticipated from it. During the Mayor's address, an incident worthy 
 of notice occurred. 
 
 The clouds which had been gathering for some time in the heavens, 
 and with occasional showers threatening to interrupt the ceremonies, 
 suddenly cleared away, and a rainbow of resplendent beauty adorned 
 the eastern sky. This was taken by many as a favourable omen, that 
 the enterprise would be successfully carried through all its difficulties 
 to a brilliant end. 
 
 The building then rapidly progressed, as no time was to be lost to 
 place it under roof before winter would set in ; and so great was the 
 zeal and perseverance with which the work was carried on, that the 
 walls were ready for the roof by the middle of December, and the 
 whole building was covered in during the month of January, 1856. 
 
 But the construction and fitting up of the interior proved to be a 
 work of a more tedious nature, as the auditorium, the stage, the large 
 number of staircases, the ornamental columns and ceilings, the deco- 
 ration, etc., were unusually complicated, and required much care and 
 time. Never before was a building constructed in our city, (not 
 excepting the Girard College,) which excited to so great a degree the 
 curiosity and interest of the public. Many were the elaborate articles, 
 descriptive of the building, which appeared in the Philadelphia and 
 New York papers; and the desire of the public to examine the struc- 
 ture was so great, that the Building Committee had to pass unusually 
 stringent resolutions in regard to the exclusion of visitors, whose pre- 
 sence tended to interfere with the operations of the workmen. This 
 spirit of curiosity constantly increased until the day of opening, which 
 was fixed for the 26th of January, 1857, and was celebrated by a 
 magnificent ball, such as was never before witnessed in Philadelphia. 
 
 Thus this building was constructed and completed within the space 
 of nineteen months; an incredibly short time, when its magnitude, 
 its solid and perfect construction, and intricate arrangements are 
 taken into consideration. May it stand for ages, a beneficial object 
 and ornament to Philadelphia — a monument to the liberality of its 
 citizens, the energy and perseverance of the Board of Directors and 
 Building Committee, and the skill of the Architects ! 
 
 000 V 
 
DESCRIPTION OF THE BUILDING. 
 
 The location of the " Opera-house," or " American Academy of 
 Music," is at the S. W. corner of Broad and Locust streets, which, 
 apart from other advantages, will be found to insure carriage accom- 
 modations of a first class character, a matter of paramount importance 
 for all places of public entertainment. On Locust street, which is 
 50 feet in width, is the northern entrance, — additional facilities of 
 approach have also been secured on the southern side, while its east- 
 ern or principal front extends along Broad street, a noble thorough- 
 fare, (120 feet wide,) truly worthy of this stately monument of public 
 enterprize. 
 
 THE ARCHITECTURE OF THE EXTERIOR, 
 
 is designed in the Italian Byzantine school, such as is frequently to 
 be met with in the northern parts of Italy. Its character is massive 
 and imposing, although exceedingly plain, with window frames shaped 
 in a manner approaching the Gotbic, which is peculiarly calculated to 
 produce a pretty effect in tbe evenings when the interior of the build- 
 ing is illuminated. 
 
 The front of the first story on Broad street is composed of brown 
 stone, as also the horizontal cornices, balconies, caps, bases, and key- 
 stones of the entire building, the upper or main cornice being of gal- 
 vanized iron, painted in imitation of brown stone. The remaining 
 portions of the exterior walls are faced with pressed bricks. 
 
 Communicating with the second story, on both the Broad street and 
 Locust street fronts, are two balconies of unusually large dimensions, 
 (78 feet 6 inches, and 74 feet 4 inches long, and 5 feet wide,) afford- 
 ing certainly as great a practical convenience to the interior, as they 
 are an ornamental relief to the huge mass of the exterior. 
 
 The keystones over the five principal entrance doors on Broad street, 
 are ornamented with carved symbolical heads. In the centre is 
 Poetry, represented by Apollo ; over the adjoining doors on either 
 side, Music and Dancing, and at the extremes, Tragedy and Comedy 
 
 m 
 
HISTORY AND DESCRIPTION 
 
 are severally personified. In the pediment over the centre of the 
 main cornice on Broad street, is a lyre, ornamented with flowers, as 
 an appropriate symbol for the Opera. The whole height of the fronts 
 from the pavement is 60 feet. The width of the front on Broad 
 street is 140 feet, the depth on Locust street 238 feet. 
 
 Entering through one of the five principal doors (each 9 feet wide) 
 on Broad street, you find yourself in the 
 
 OUTER ENTRANCE HALL, 
 
 (73 feet long, 10 feet wide, and 18 feet high,*) 
 the ceiling of which is handsomely arched, and in perfect harmony 
 with the massive character of the exterior. Here are located the 
 ticket offices at either end, and it is also intended to admit into this 
 hall coachmen and servants awaiting the exit of the audience at the 
 close of the performance. Crossing this hall, and passing through 
 the opposite doors, you arrive at the 
 
 GRAND VESTIBULE, 
 
 (73 feet long, 27 feet wide, IS feet high,) 
 
 constructed in a heavy Tuscan architecture, with arched doorways 
 along both sides, and heavy pilasters between them, supporting the 
 girders of the ceiling; the whole painted in imitation of various kinds 
 of marble. At each end of the Vestibule, and leading to the first 
 tier, is a magnificent stairway, 13 feet wide, of remarkably easy ascent. 
 On each of the newelposts, at the foot of these staircases, is a large 
 candelabrum, with elaborate gas fixtures, supporting small figures repre- 
 senting Mercury. They, together with the massive chandelier in the 
 centre of the Vestibule, furnish ample means of lighting the room. 
 On the first landings of the above named staircases, are spacious doors, 
 connecting with the platforms of the second tier staircases, which start 
 from the flank entrances, so that a communication of both tiers can be 
 formed, if desired. 
 
 Adjoining the Grand Vestibule, is the spacious 
 
 LOBBY OF THE PARQUET, 
 
 which is at that point 13 feet wide, gradually narrowing towards the 
 stage, on both sides of the auditorium, to the width of 9 feet at the 
 furthest end. It is obvious, that such a construction is based on just 
 principles, a corridor should widen in the direction of the current of 
 the crowd, so that at every additional door, there would be a propor- 
 tional width of passage; like a river, it would increase in width at the 
 mouth of every additional stream. 
 
 / 
 
 
 
OF THE OPERA-HOUSE. 9 
 
 In all the 
 LOBBIES, CORRIDORS, STAIRCASES, EXITS, ETC., 
 
 every inch of space has been well calculated and apportioned to the 
 number of people, which are expected to pass. It results from the 
 same rule, that no staircase is allowed to accommodate more than one 
 story ; each of the upper stories having two complete staircases, which 
 form an unbroken connection with the street. The several widths of 
 them have been very carefully calculated, allowing at least one foot 
 for every fifty persons; so that, supposing a story accommodates 600 
 persons, and has two staircases, the aggregate width of these staircases 
 should be at least 600-f-50, or 12 feet, or each staircase should be at 
 least 6 feet wide, — all the stairways exceed this average. 
 
 The entrances to the second tier and the amphitheatre, with their 
 ticket offices, are both on Locust street; and additional staircases and 
 exits are provided for them on the south side. The decoration and 
 fitting up of all these lobbies, corridors, and staircases, is chaste and 
 appropriate; and the walls are painted in imitation of variegated 
 marble. 
 
 Adjoining the Parquet Lobby, to the north, is an additional exit, 
 communicating with the covered footway on Locust street. 
 
 PROMENADE CORRIDORS 
 
 are provided to all the other stories, on both sides of the house, effec- 
 tually shutting off the noise from the streets, and forming a pleasant 
 resort; especially the one on the north side, in the second story, 
 which connects with the balcony on Locust street. 
 
 There are also communicating with the corridors, and accessible 
 from the Parquet and first and second tiers, three 
 
 DRAWING-ROOMS, 
 
 (each 28 feet long, and 15 feet wide,) 
 
 neatly fitted up for the convenience and comfort of ladies ; and on the 
 opposite side is a spacious 
 
 SEMI-CIRCULAR STAIRWAY, 
 6 feet wide, connecting the three lower stories, whenever desired. In 
 the front part of the second story, directly over the vestibulum, and 
 outer entrance hall, and communicating with the first tier lobby, is 
 the 
 
 GRAND FOYER, OR SALOON, 
 
 (84 feet long, 39 feet wide, and 33 feet 6 inches high.)' 
 
 This saloon is decorated by sixteen Ionic columns, projecting from 
 
10 HISTORY AND DESCRIPTION 
 
 both sides, supporting enriched broken entablatures; above which 
 springs the groined arched ceiling, formed after the most celebrated 
 Italian models. This room was originally intended to be frescoed, 
 but, for various reasons, it has been deferred to some future day. 
 Ten handsome glass chandeliers are suspended from the ceiling, in a 
 manner peculiarly adapted to its architectural effect. There being 
 no chandeliers in the centre, the room presents a beautiful perspec- 
 tive, which is materially aided by two large mirrors at the ends of the 
 room, producing by their numberless reflections the effect of a gallery 
 of infinite length. 
 
 This saloon besides being used for promenading between the acts, 
 may also be employed independent of the theatre for parties, balls, and 
 musical soirees, the staircases leading up to the second tier, being so 
 arranged as to admit of their being used for this saloon exclusively, 
 if required. The two corner rooms, in connection with this saloon, 
 may be appropriated for retiring and refreshment rooms, and are in 
 communication by means of the staircase with the 
 
 RESTAURANT, 
 
 (72 feet 6 inches long, 26 feet wide, and 10 feet high,") 
 
 in the basement, directly under the vestibule and the adjoining rooms, 
 and accessible also from the corridor of the parquet, by large stairways at 
 each end. This establishment is plainly, but comfortably fitted up, 
 containing private roooms of various sizes, for the accommodation of 
 supper parties, etc. 
 
 Returning to the first story lobby, and passing through one of the 
 doors in the circular wall before you, you find yourself in the Parquet 
 circle of the 
 
 AUDITORIUM, 
 
 (102 feet 6 inches long, §0 feet icide, and 70 feet high,) 
 
 which is certainly the most interesting part of the house. You are 
 struck at once by the freedom of vision, spaciousness of passages, 
 and comfort of accommodations. The seats, the size and shape of 
 which has been very carefully studied, are provided with spring 
 cushions and arms, covered with rich dark red plush. The seats are 
 not made to lift up, as the advantages of that system have of late 
 been questioned, and the construction adopted has been the result of 
 mature deliberation. 
 
 Descending through the passage of the Parquet circle into the 
 Parquet proper, which is divided off from the former by a continuous 
 screen in front of it, you are enabled to enjoy a view of the whole 
 
OF THE OPERA-HOUSE. 11 
 
 house. Your attention should be first drawn, however, to the floor 
 of the Parquet, which is formed in a concave shape, favoring vision 
 in an uncommon degree. 
 
 When required for balls or assemblies, the whole Parquet, together 
 with the stage, can be covered over by a temporary level floor, thus 
 forming a magnificent saloon of vast dimensions ; the aggregate length 
 from wall to wall being 175 feet. 
 
 On looking around, you perceive three balconies or tiers above the 
 Parquet circle ; directly over which is the first tier, with seats finished 
 in the same manner as those below; over this is the second tier, pro- 
 vided with sofas without arms, and above the whole is the omphi- 
 theatre, where the seats are comfortable, but of a plainer description. 
 In the rear of the first and second tiers are a number of private 
 boxes, communicating directly with the corridor in the ordinary man- 
 ner, and furnished with chairs. 
 
 The capacities of the several parts of the house are as follows : 
 
 First Class Seats. 
 
 Parquet Proper, - 
 
 Parquet Circle, 
 
 First Tier Balcony, 
 
 First Tier Boxes, 
 
 Six first class Proscenium Boxes, - 
 
 Total .... 
 
 Second Class Seats. 
 
 Second Tier Balcony, 
 
 Second Tier Boxes, 
 
 Two second class Proscenium boxes, 
 
 Total, 
 
 Third Class Seats. 
 
 Amphitheatre, ... 
 
 which, in the aggregate, makes a total of 2900 seats ; which is quite 
 a large number, considering the size of the house, taken in connection 
 with the ample accommodations afforded each person. There is be- 
 sides standing room for about 600 persons. 
 
 The following table of the most renowned European theatres, gives 
 the several depths of Auditorium, from the curtain to the opposite 
 wall : 
 
 ■ 480 
 
 seats, 
 
 580 
 
 a 
 
 408 
 
 a 
 
 128 
 
 (C 
 
 96 
 
 <: 
 
 1692 seats. 
 
 424 
 
 seats. 
 
 134 
 
 a 
 
 32 
 
 a 
 
 590 
 
 seats. 
 
 618 
 
 seats. 
 
12 HISTORY AND DESCRIPTION 
 
 La Scala, Milan, - - - 112 feet. 
 
 San Carlo, Naples, - - 110 « 
 
 Opera at Moscow, ... 105 " 
 
 Opera at Munich, - - 102 " 
 
 Opera at St. Petersburg, - - 97 " 
 
 Opera at Berlin, - - 93 " 
 
 Opera at Paris, - - ■ 92 " 
 
 La Fenice, in Venice, - - 90 " 
 
 Opera at Vienna, - - - 70 " 
 
 Opera at Copenhagen, - - 68 " 
 
 Philadelphia Academy of Music, 102 feet, 6 in. 
 
 The reports about the capacities of European Opera-houses, are gen- 
 erally very vague, especially those referring to the two Italian theatres, 
 so commonly quoted, viz : the La Scala at Milan, and the San Carlo 
 at Naples, they being arranged with private boxes all over the house, 
 each having a level floor, where chairs and stools are placed pro- 
 miscuously, so that there can be no accurate estimate as to the exact 
 number of persons which a box would accommodate. Thus it may be 
 said, that these theatres are capable of holding 4000 persons, but it 
 seems extremely doubtful, whether their accommodations would be very 
 comfortable. The average number of seats in the larger class of 
 European Opera-houses is only 2000, which seems to be considered a 
 reasonable standard. 
 
 The balconies in our auditorium are supported by light cast iron 
 columns, considerably recediug, and thus not calculated to obstruct 
 the view as much as if they stood directly under the fronts. At the 
 same time this arrangement affords an opportunity to make the front 
 of each higher tier recede from the lower one ; thus giving to the 
 whole auditorium a fine amphitheatrical appearance. 
 
 It would be well here, to say a few words in reference to the ar- 
 rangement of the platforms in the several tiers, on which the seats are 
 placed. Nothing has been left undone, to facilitate vision in all parts 
 of the house, the plan itself has been governed by it, and the fronts 
 of the several tiers diverge as well as decline more or less towards the 
 sta^e, in such a manner, that the eye is not offended. The elevations 
 of the platforms being considerable, (especially in the two upper tiers,) 
 the object has been completely gained, there not being a single seat 
 in any part of the house, from which a satisfactory view of the stage 
 cannot be obtained. 
 
 The Proscenium, or that portion of the house which forms the link 
 between stage and audience, and a rich architectural frame to the 
 scenic representations, is arranged in a rather novel manner, viz : 
 
OF THE OPERA-HOUSE. 13 
 
 Two Corinthian columns, standing apparently free, support the Pros- 
 cenium architrave behind which the curtain is suspended, and four 
 other columns of the same order are placed in front of the Proscenium 
 boxes on both sides, which contain balconies, corresponding to the 
 fronts of the adjoining tiers. The style of architecture is a florid re- 
 naissance, rich and effective, without being overloaded with orna- 
 ments. Over the entablatures of those columns are placed four col- 
 lossal caryatides, representing kneeling giants, supporting the arched 
 pediments over the Proscenium boxes. Under these pediments, 
 at the right and left of the stage opening, are sculptured the 
 arms of the city and state in bold relief, and below them are the key- 
 stones of the lower arches, in the shape of two masks, representing 
 Tragedy and Comedy. The ornamentation of the rest of the proscen- 
 ium boxes, and fronts of the several tiers, consists of various embel- 
 lishments, such as are usual in Opera-houses, viz : festoons, tripods, 
 griffons, shells, musical instruments, pearl strings, etc., etc. Over 
 the centre of the Proscenium architrave is a medallion with a bas- 
 relief portrait of Mozart, over which there are two reclining figures, 
 representing Poetry and Music. All the sculptural ornaments have 
 been carved in wood, in accordance with the substantial character 
 which pervades the whole structure. The prevailing color of the 
 wood work is of a cream tint, occasionally relieved with gilding, which, 
 together with the rich crimson paper of the walls, and the dark red 
 plush covering of the seats, presents a very fine appearance. 
 
 The immense drop curtains (each 50 feet square,) deserve particu- 
 lar notice. The first drop consists of rich crimson drapery, ornamented 
 with heavy golden fringes, ropes, tassels, etc., designed and executed 
 by J. R. Martin, the scene painter, who came here from Berlin, 
 to paint the architectural scenes. The second, or entre act, 
 drop is a beautiful landscape, representing a view on the Lake 
 of Como, so renowned for its charming scenery, painted by Russel 
 Smith, our native artist, whose skill and taste are already fully known 
 and justly appreciated by our citizens. 
 
 The ceiling is likewise remarkable for the skill, taste, and labor 
 bestowed upon it. The design and fresco work was executed by Mr. 
 C. Kaiser, and the pannels filled with beautiful oil-paintings, by 
 Mr. C. Schmolze, representing the following subjects : 
 
 In the pannel next to the stage, is Poetry and Music, represented 
 by Apollo, Erato, the muse of love-songs, and Euterpe, the muse of 
 mental enjoyment. 
 
 In the southern pannel is Comedy, represented by Bacchus, Thalia, 
 the muse of comedy, and Momus, the god of mockery. 
 
II HISTORY AND DESCRIPTION 
 
 la the eastern pannel, opposite the stage, is Tragedy, represented 
 by Minerva, Melpomene, the muse of tragedy, and Clio, the muse 
 of history. 
 
 In the northern pannel is Dancing, represented by Mercurius, Terp- 
 sichore, the muse of dancing, and Aglaia, one of the graces. 
 
 The four diagonal elliptical pannels are filled with representations 
 of the seasons. Spring, represented by a girl with flowers ; Summer, 
 by a boy with a sheaf and scythe ; Autumn, by a boy with fruit, and 
 "Winter by another wrapped in drapery, and carrying a holly tree. 
 
 In the centre of the inner dome, which is ornamented with stars, 
 hangs the immense glass chandelier, with 240 burners. Over the 
 tops of the uppermost iron columns, which support the ceiling, are 
 clusters of gas burners, and against the walls of the several tiers, are 
 also handsome triple gas brackets, which at the same time materially 
 aid in the 
 
 VENTILATION 
 of the house. Over each of these gas brackets, is an opening into 
 one of the spacious ventilating flues, which are 20 in number, carried 
 up perpendicularly the whole height of the wall, widening toward 
 the top, at every additional register. 
 
 These flues are conducted by means of shafts into the main venti- 
 lator, which is directly over the chandelier, communicating with the 
 octagonal cupola on the top of the roof. In this manner a very ef- 
 fective draught is secured, the air being carried off in the auditorium 
 just at those places, where it is the most apt to become vitiated, and 
 at the same time removing the heat produced by the gasburners. Fresh 
 air, heated if necessary by steampipe chambers, is forced through 
 judiciously distributed apertures in the several floors, by means of a 
 revolving fan blower in the basement, the supply of air being brought 
 down from the roof by a large air shaft, so that the air thus obtained 
 is always pure. 
 
 In this manner, by forcibly driving in pure air, and drawing out 
 the vitiated air, so perfect a degree of ventilation is secured, that it only 
 requires some restrictive regulations, to make it answer every desired 
 purpose in winter ; and in summer cool air can be forced in by simi- 
 lar means. The same system of ventilation is also carried out in the 
 saloon. The 
 
 HEATING 
 
 of the whole building is effected by steam, conducted in pipes through- 
 out its entire extent. As much attention has been devoted to this 
 subject, and the most experienced agents employed in its construction, 
 no evil effects, noise, etc., need be anticipated. The artificial 
 
r 
 
 OF THE OPERA-HOUSE. 15 
 
 warmth, derived in this way, is exceedingly pleasant, and not accom- 
 panied by any impure or unhealthy air, as is generally the case with 
 the heat from the usual warm air furnaces. The 
 
 CONSTRUCTION 
 
 of the building is unusually substantial, the soil supporting it is ex- 
 cellent, the foundation massive, and the strength of the upper walls 
 very remarkable. The thickness of the auditorium walls has often 
 been the subject of commendation. They stand free, 70 feet high, 
 destined to bear an audience of 3000 persons, to support the heavy 
 frames of a roof, 90 feet in span, and are moreover perforated by nu- 
 merous doors, and spacious ventilating flues. 
 
 The architects had the great satisfaction to find, that not the 
 slightest crack or irregular settlement took place throughout the 
 whole building, although there were certainly unusual feats of con- 
 struction to be performed. The great proscenium, or stage opening, 
 deserves particular notice. A colossal arch of brick work, 3 feet in 
 thickness, spans this vast space, 58 feet in width, at an elevation of 
 52 feet from the foundation. 
 
 The brick work rests upon two iron arches, each cast in a single 
 piece, measuring 70 feet along the curve, and provided with 6 wrought 
 iron ties. The wall over this arch is continued up through the roof, 
 so that in the event of a fire occurring on the stage, it could not com- 
 municate with the roof of the front, or eastern part of the building. 
 
 The ceiling of the auditorium is constructed of wrought iron ribs, 
 suspended from the timber frames of the roof. To these ribs a wire 
 net-work is fastened, on which the plaster is laid, thus forming a 
 ceiling which will not be subject to cracking, and the shape of which 
 allows the expansion and contraction of the metal, without injury to 
 the plaster, at the same time giving just such a surface, as would be 
 desirable for the effect of sound. This leads us to the consideration 
 of the science of 
 
 ACOUSTICS; 
 
 the most approved principles and theories of which, have been care- 
 fully studied and applied to this building. The popular ideas en- 
 tertained on this subject are generally very vague and indistinct. If 
 a room turns out to be well or ill adapted for sound, some persons 
 ascribe it to mere accident, while others give the credit or blame en- 
 tirely to the architect. Both are greatly at fault. The fact is, that 
 the architect, who has properly applied himself to this branch of his 
 profession, can certainly do a great deal towards the accomplishment 
 
lb' HISTORY AND DESCRIPTION 
 
 of his object, especially if his study is founded upon practical experi- 
 ence, combined with the observations and results deducted from other 
 buildings of a similar nature. This, however, gives no complete 
 guarantee; and it must be acknowledged that there always remains 
 something left to chance. But to contend upon this ground, that the 
 result is in every case accidental, would be little better than to hold, 
 that a practised marksman, in hitting his object, owed all to chance^ 
 and nothing to skill — because, forsooth, he might by possibility have 
 missed it. 
 
 A most interesting illustration of the foregoing observations is to 
 be found in the construction of the floor of the orchestra. Extending 
 underneath it is an inverted barrel vault, formed of plank arches, 
 plastered over; below which is a solidly walled trench, five feet deep, 
 paved with hard bricks, in a curved shape, forming a powerfully re- 
 sounding surface. The floor itself, which is light and elastic, has a 
 slight declivity toward the parquet; and the whole, combined with 
 the solid stage front, has a tendency to reflect the sound into the au- 
 ditorium, so that but little will be lost upon the stage. 
 
 The floor of the parquet rests on as few supporting walls as possi- 
 ble and has underneath the centre a countervaulted sounding well, 
 walled in with bricks, 12 feet deep and 20 feet in diameter. The whole 
 area, which extends under the parquet, and parquet circle is also 
 paved with hard bricks. All these arrangements are highly impor- 
 tant as a means of securing a good resonance. 
 
 In order to conduct the sound and impart to it a peculiar mellow- 
 ness, the auditorium walls are lined with thin pine boards, which to 
 a certain extent acts as a preventative against echoes. The greatest 
 point however to attain the desired object is to be found in adopting 
 a peculiar curve to the walls enclosing the auditorium, which will 
 give the greatest security against any concentrations or knots of sound ; 
 — this has been done after very laborious calculations made with experi- 
 mental diagrams. 
 
 It is to be desired that this interesting subject should be more elab- 
 orately treated by some experienced and scientific architect, who 
 could fully set forth and substantiate the mere theoretical views here- 
 tofore given, so that they might be practically applied. 
 
 The ceiling is, as above stated, made of light iron ribs, covered 
 with a wire network and plastering, possessing very limited resound- 
 ing qualities. This is in contradiction to some authorities, who con- 
 tend, that the ceiling should be constructed as a reflector of sound; 
 but experience has proved, that in many cases, where such a practice 
 had been followed, the resonance had subsequently to be deadened 
 
OF THE OPERA-HOUSE. 17 
 
 by suspending canvass under it, as instanced in the Italian Opera- 
 house at Paris. 
 
 The result of the whole arrangement in regard to acoustics, as far 
 as could be ascertained from experiments made, has proved highly 
 satisfactory. A person sitting on the back seat of the uppermost 
 gallery, could clearly understand every word spoken on the stage in 
 the ordinary tone of voice without the slightest perceptible echo. 
 
 The 
 
 STAGE, 
 
 (72 feet 6 inches deep, 90/ee£ wide, and 70 feet high,,} 
 has been constructed in a very superior manner, there being under- 
 neath it besides a 10 feet basement for the machinery of the traps, 
 etc., also a large excavation, 36 by 34 feet, and 15 feet deeper than 
 the floor of the basement, making a total depth of 25 feet, so as to 
 enable the sinking of whole scenes, &c, through the floor of the stage. 
 The declivity of the stage floor toward the auditorium is one foot in 
 30 feet, or 2-5 of an inch to the foot. 
 On the north side of the stage, is the 
 
 GREENROOM, 
 
 (42 feet long, 19 feet wide, and 12 feet high,} 
 arranged as a handsome parlor, and used as place of rendezvous for 
 actors, from which they are called to appear on the stage. Adjoining 
 this is the entrance hall from Locust street, containing the staircase, 
 and beyond this the Stage Manager's office. The second and third 
 stories are devoted to dressing-rooms, and the fourth and fifth stories 
 to tailors' rooms and wardrobes. 
 
 Connected with the third story is the principal 
 
 RIGGING GALLERY, 
 (72 feet long and 13 feet wide,} 
 to which all the ropes of the suspended scenery are attached. In the 
 N. E. corner is a winding staircase leading to the rigging floor under 
 the roof, 70 feet above the stage, from which all the drops and borders 
 of the scenes are suspended. Ascending another small staircase in 
 the opposite corner, you enter the painters' room, extending along the 
 back wall, and at an elevation of 32 feet from the stage. This room 
 is 22 feet wide, and has two immense frames suspended on either 
 side, on which the canvass is stretched. These frames are suspended 
 on counter balancing weights, and are moved upwards or downwards 
 by means of cranks, thus enabling the artist to work over every por- 
 tion of the canvass, and still remain on the same floor. Adjoining 
 
18 HISTORY AND DESCRIPTION 
 
 the painters' room on the south side, is the carpenter shop which is 
 built fire-proof, with an iron framed roof, covered with corrugated 
 galvanized sheets. At present, this room is also temporarily occupied 
 for scene painting, the canvass being tacked to the floor, to facilitate 
 the operations of the artist. This system, of painting on the canvass 
 laid out on the floor, is followed on the continent of Europe. Descend- 
 ing through the other door of the first mentioned painters' room, you 
 alight on the rigging floor of the south side of the stage, which is, 
 however, less frequently used than the other; and the remainder of 
 the building on that side, contains property-rooms, a number of first 
 class dressing-rooms, with bath-rooms, wash basins, and other conveni- 
 ences; a scene magazine on a level with the stage floor, and adjoining 
 this, the large southern stage entrance, 25 feet high and 10 feet wide, 
 for the admission of very large objects, carriages, horses, etc., which 
 would be introduced from Westmoreland street. 
 
 The basement on both sides of the stage department is allotted to 
 the supernumeraries, here also is a portion of the dwelling for the 
 stage carpenter. Under the lobbies and corridors of the parquet are 
 placed the ventilating fan, engine, pump, and boiler-rooms, the latter 
 being, however, in a separate vault, outside the building. From these 
 boilers the steam is conducted over the entire building, and the 
 aggregate length of steam pipes is estimated at over six miles. 
 The small engine for driving the fan wheel, and a very superior steam- 
 pump of the Worthington patent, derive their supply of steam from 
 these boilers. The ordinary purpose of this pump is inerel}- to 
 keep a large reservoir under the roof constantly filled with water, 
 and to pump back into the boilers the water from the condensed 
 steam, which runs out of the pipes into a small well. In the 
 event of an accident from fire, however, this pump would be pow- 
 erful enough to be of very efficient service. Hose attachments 
 are in every story, and the whole arrangement, in connection with 
 the water reservoir, above mentioned, the fire-proof wall over the 
 stage opening, the width of passages and staircases, etc., insures 
 extraordinary safety to the building. 
 
 Having thus given a full description of all parts and qualities of 
 the house, the public may form their own judgment as to its merits. 
 Certain it is, that the Directors and Architects have already had the 
 gratification to hear, that the best authorities, (American as well as 
 European,) who have examined the house, have unanimously ex- 
 pressed themselves in the warmest terms of approbation ; and it may 
 be also safely asserted, that in the following points, this building 
 stands positively unrivalled, viz : 
 
OF THE OPERA-HOUSE. 19 
 
 1st. Facilities of exit from all parts of the house. 
 
 2d. Perfect vision throughout the auditorium. And 
 
 3d. Perfect ventilation. 
 
 As regards the acoustic properties, we cannot as yet make any 
 positive assertions, until we shall have witnessed the first operatic re- 
 presentation in presence of a crowded audience, but we look forward 
 to the realization of our brightest anticipations, namely, that in every 
 respect, our Opera-house will stand comparison with any theatre in 
 the world, and in many respects excel them all. 
 Philadelphia, January 26, 1857. 
 
20 HISTORY AND DESCRIPTION OF THE OPERA-HOUSE. 
 
 The following is a list of the contractors, mechanics, and artists, 
 who were engaged in the building under the direction of the Building 
 Committee and the Architects : 
 
 Charles Conard, Superintendent, 
 
 John D. Jones, General Contractor and Carpenter. 
 
 J. A. Johnson for Stage Building, 
 
 J. J. Walworth & Co. for Steam-heating and Ventilation, 
 
 "Win. H. Dale for Digging, 
 
 Lukens & Drake for Stone work, 
 
 Dougherty & Smith for Brown stone work, 
 
 Jones & Fox for Brick work, 
 
 Wm. Stewart for Plastering, 
 
 John Matlack for Framing of the roof. 
 
 M'Cullough & Co. for Galvanized Iron Roofing, 
 
 Oram & Co. for Cast Iron, 
 
 Thomas Armitage for Smithery, 
 
 Robert Wood for Awning and Railings, 
 
 Baylis & Darby for Wirework, 
 
 J. Blair for Stair Builder, 
 
 John Gibson for Painter and Glazier, 
 
 Wright, Hunter, & Co. for Plumbing, 
 
 Archer & Warner for Gasfitting, 
 
 Cornelius, Baker, & Co. for Chandeliers and Fixtures, 
 
 S. P. Rush for Seats, 
 
 Edward Burke for Upholstery. 
 
 Chas. Busher & Bailly for Carved Wood work, 
 Const. Kaiser & Co. for Ornamental Painting, 
 Chas. II. Schmolze for Oil Paintings on the ceiling of the Audi- 
 torium. 
 Russel Smith, "J 
 
 John R. Martin, from Berlin, I Scene Painting. 
 Ed. Riviere, from Brussels, J 
 
LIBRARY OF CONGRESS 
 
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