COLN ROOM UNIVERSITY OF ILLINOIS LIBRARY presented by E5oS.&r ii "h RESTORSTIDN OF FORD'S THEmE (national archives) Figure i. Last photograph of Abraham Lincoln, April lo, 1865, by Alexander Gardner. FonFS TBEmS ^^•k^it-^ United States Department of the Interior Stewart L. Udall, Secretary National Park Service Conrad L. Wirth, Director HISTORIC STRUCTURES REPORT RESTOmiON OF FOKD'S THEmE tV- ^- 1 WASHINGTON, D.C. Prepared Under the General Direction of Conrad L. Wirth DIRECTOR NATIONAL PARK SERVICE And the Technical Supervision of Randle B. Tructt CHIEF HISTORIAN, NATIONAL CAPITAL REGION and William M. Haussmann CHIEF, NATIONAL CAPITAL OFFICE DESIGN AND CONSTRUCTION by George J. Olszewski, Ph. D. HISTORIAN, NATIONAL CAPITAL REGION -^ -^ ^- -i^ UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL CAPITAL REGION 1963 1^- -^ The National Park System, of which Ford's Theatre National Historic Site is a unit, is dedicated to conserving the scenic, scientific, and historic heritage of the United States for the benefit and inspiration of its people. ix- -i^ For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C., 20402 - Price $1.00 (paper cover) CONTENTS Page Foreword ix Preface '^^ LIST OF ILLUSTRATIONS xv LIST OF HISTORIC AMERICAN BUILDINGS SURVEY DRAWINGS . xvn ADMINISTRATIVE DATA 1 HISTORICAL DATA 5 PART I: THE FORD THEATRE BUILDING, 1833-1862 5 The First Baptist Church of Washington 5 Ford's Theatrical Venture, 1861-1862 7 Ford's Atheneum, March 19 to December 30, 1862 9 PART II: FORD'S THEATRE, 1863-1865 13 Plans for a New Structure 13 Acquisition of the Site ; 17 Financing of the Project 17 The Washington Theatre Company 17 Loans on the property 19 Sale of stock certificates 19 Construction of Ford's Theatre 19 Laying of the Cornerstone 21 Foundations 21 Exterior of Ford's Theatre 21 North wall 22 West wall 23 South wall 26 East wall 30 North dressing room wing 31 Addition to the south 31 Other exterior features 32 Interior of Ford's Theatre 33 Lobby 35 Box office 35 Orchestra and parquet 35 Dress circle 39 Family circle 39 Boxes 43 The Presidential Box 43 Auditorium 45 Orchestra pit 45 Stage 45 HISTORICAL DATA— Continued PART 11: FORD'S THEATRE, 1863-1865— Continued Construction of Ford's Theatre — Continued Interior of Ford's Theatre — Continued Pag, Basement 47 North wing 48 South addition 51 PART III: APRIL 14, 1865, AND ITS AFTERMATH 53 Introduction 53 Ford's Theatre, April 14, 1865 53 The Assassination of the President 56 Aftermath of Lincoln's Death 61 ARCHITECTURAL DATA: NOTES FOR THE RESTORATION OF FORD'S THEATRE 69 Instrument Control 69 Basement Plans 69 Ground Floor Plan 73 Second Floor Plan 79 Third Floor Plan 81 Reflected Ceiling Plan 83 Roof Plan 87 West Elevation 87 North Elevation 89 East Elevation 89 South Elevation 89 Longitudinal and Cross Sections 93 Detailed Drawings 93 FURNISHINGS AND EXHIBITION DATA 101 APPENDICES 105 BIBLIOGRAPHY 125 INDEX 130 FOREWORD Ford's Theatre is the Nation's historic site that memorializes one of the saddest moments in the history of our country, the assassination of Presi- dent Lincoln. Following the trial of the Lincoln conspirators and the purchase and remodeling of the building by the Federal Government in 1865, its history was so shrouded in unreality that it was difficult to separate fact from fiction. Ever since 1932, when the Lincoln Museum was established in the building under the administration of the National Park Service, visitors have expressed concern over the fact that this historic shrine, so closely associated with the death of Lincoln, has not been restored to its original condition as a memorial. It was with this objective in mind that the Congress provided funds to carry out historical and architectural research on the building with a view towards its eventual restoration to its orig- inal appearance as of the night of April 14, 1865. Preliminary investigations began in 1955, when, under the provisions of Public Law 372, 83d Con- gress, the National Capital Region prepared a preliminary engineering study. Additional funds were appropriated by Congress under the provi- sions of Public Law 86-455, 86th Congress, to carry out "preliminary architectural and historical research, the preparation of construction draw- ings and for exhibit planning." The present Historic Structures Report, Resto- ration of Ford's Theatre, represents the sum total of our investigations into every known public and private documentary source of evidence on the subject. The facts presented here are the best available and would provide for the full resto- ration of the theatre. If funds are provided promptly, the restoration of Ford's Theatre can be completed by the 100th anniversary of the tragedy occurring therein, as a living memorial to the Great Emancipator. New interpretive exhibits of contemporary de- sign are planned for the Lincoln Museum to be installed in the restored structure. Here the Lincoln Story will continue to be depicted as in the past to provide renewed inspiration to the thousands of American and foreign visitors who yearly visit the hallowed shrines of America's heritage in our Nation's Capital. This report is the result of the effective col- laboration of the National Capital Region's his- torical and architectural staffs. William M. Haussmann, Chief, National Capital Office, De- 'sign and Construction, coordinated the entire project. William A. Dennin, Supervisory Archi- tect, contributed the architectural data and, with Laima J. Kalnins, prepared the architectural drawings. Randle B. Truett, Regional Historian, supervised the preparation of the historical mate- rial. The overall report was researched, written, indexed, and prepared for publication by Dr. G. J. Olszewski. Conrad L. Wirth, Director. April 14, 1963. IX PREFACE Ford's Theatre as it stands today in the Na- tion's capital bears only an outward resemblance to the popular theatre of Civil War days. Launched into international prominence because of the tragedy marking the assassination of Abraham Lincoln, it is now the site of the Lincoln Museum where, yearly, thousands of visitors from all over the world pay their respects to the President who fused the Federal Union into one indissoluble chain. Externally the west facade and north and south walls still remain of the original theatre, although they have been subject to modification, repair and remodeling over the years. The rear or east wall, site of the exit door through which the assassin, John Wilkes Booth, escaped, has been completely rebuilt. In the Lincoln Museum proper, there is little, if any, indication of the original theatre aside from markings on the museum floor in- dicating the extent of the forestage and the lo- cation of the presidential box. From here an outline of the assassin's footsteps, marking his escape route, complete this part of the picture. A diorama of the stage as it appeared on the night of April 14, 1865, is one of the few items show- ing the original interior of the theatre. From that fateful night of Good Friday, 1865, until the hanging of the conspirators on July 7, 1865, Ford's Theatre was guarded by federal troops. On July 8, it was returned to John T. Ford, the owner. On July 10, it was seized once again by order of the Secretary of War, Edwin M. Stanton. Subsequently, the building was leased by the government and in 1866 purchased by act of Congress. By this time the theatre had been remodeled into a three-story office building for the use of the government. Thereafter it was the home of the Army Medical Museum to 1877 and the principal office of the Adjutant General for compiling the official service records of veterans of the Civil War. Hundreds of clerks worked on this project. Trag- edy struck the building once again in June 1893 when part of the overloaded interior collapsed killing twenty-two federal employees and injuring sixty-five. The structure was then closed by order of Congress and until 1932, when the present Lincoln Museum was opened in the building under the administration of the National Park Service, it was used for the storage of public documents. Throughout these years there was little thought of restoring the theatre to its original appearance as a memorial to the Martyred President. When public interest in its restoration was first brought to the attention of Congress after World War II, the building became the subject of considerable controversy. Nevertheless, public interest con- tinued to be manifested in the restoration of Ford's Theatre especially when Congress took the initi- ative and provided funds for a preliminary en- gineering report on the structure in 1954. In 1959 renewed interest was aroused in the full restoration of Ford's Theatre as part of the Civil War Centennial Celebration and the MISSION 66 program of the National Park Service. Op- position to the restoration now ceased as Congress voted funds for the present project. Public Law 86-455 authorized the National Park Service to complete preliminary architec- tural and historical research on old Ford's Theatre building, to prepare construction drawings and to draw up plans for a modern exhibit of con- temporary design to house the Lincoln Museum. This Historic Structures Report, Restoration of Ford's Theatre, was begun in September 1960 and presents information available from all known official sources and private collections. Since methods of approach to the historical and archi- XI tectural findings are delineated more fully in the body of the report, a brief indication of some of its more outstanding features as well as an acknowledgement of source material is considered timely and proper. The study is in two basic sections, historical and architectural. It presents the Historical Data in three parts followed by the Architectural Data in one. Part I of the historical data gives a brief history of the site and the forerunner of the present structure. It includes material on the First Baptist Church of Washington, its leasing to John T. Ford, its conversion into Ford's Aethe- neum, and its final destruction by fire. Part II is the bulk of the overall report and pre- sents all the historical material currently available on the structure. The narrative includes a dis- cussion of some of the many problems encountered by Ford in constructing his theatre in wartime Washington; his attempts to finance its construc- tion; his efforts to obtain a Congressional charter; the acquisition of adjacent land: and a concise and factual narrative of the combined results of his- torical and architectural research on the exterior and interior of the theatre. Often the results of countless hours of research and of decisions ar- rived at in joint meetings of the historians and architects are given in a terse statement of ac- cepted evidence. Part II also includes the re- sults of architectural exploration of the building to confirm historical findings and to explore leads resulting from historical research. Owing to the intense interest displayed in the facts surrounding the assassination of Lincoln, a concise summary of events leading to the tragedy has been included in Part III. It also includes a brief resume of the theatre's history after its con- version into an office building until the Lincoln Museum was installed on the first floor in 1932. The Architectural Data includes all the evidence accepted by the architects in reaching their de- cisions and the reasons for such acceptance. It represents the result of the combined work of the historical and architectural staffs. The Historic American Building Survey drawings, a full set of which is included in the report, represents the final decisions of the architects. They form the basis of the construction drawings, now being pre- pared, which will be used for the full restoration of Ford's Theatre. A brief section on Furnishings and Exhibition Data completes the narrative of the report. Therein is included all known information on the historical furnishings of the theatre, indicating what original materials have been donated to the Lincoln Museum. The most recent addition to the collection is the original mid-nineteenth century clock (Figure 58) from the greenroom of the theatre, donated by Mario Da Parma of New York City. A furnishings plan to be used in the restoration of the theatre is in preparation. In the course of research on this study, prac- tically every field of possible information was ex- plored. For instance, attempts were made to locate existing theatres in the United States which would be comparable in construction to the origi- nal Ford's Theatre. Only Ford's Theatre, Baltimore, and Thalian Hall, Wilmington, N.C., possessed a few useful architectural details. Photographs were of particular significance in the research, often proving to be the sole source of specific types of documentary information. While the majority are from the files of Abbie Rowe, National Park Service, some unknown Brady photographs were located in addition to the standard materials in the Brady collections of the National Archives and the Library of Con- gress. These hitherto unpublished Brady photo- graphs, shown in Figures 28 and 32 with enlarged details in Figures 30 and 31, were uncovered by the Regional Historian, during a visit in 1961 to the Illinois State Historical Library, Springfield, Illinois. Other newly-discovered photographs are Figures 14 and 48, the latter being from the col- lection of the Lincoln National Life Foundation, Fort Wayne, Indiana. Because of the technical nature of this study, certain aspects of the theatre's history has been included in keeping with the tradition of the living theatre. The fact should not be overlooked that before Ford's Theatre went dark, it was con- sidered to be one of the finest for its day and was a distinct cultural asset to the Nation's capital. A few facts may bear this out. John T. Ford brought to the footlights of Ford's Theatre, during the 495 performances of its two seasons, some of the greatest theatrical talent that ever graced the American stage. Some of it was unique to growing America. For instance, among those who made memorable appearance at Ford's Xll were: Lincoln's favorite Shakespearean actor, James Henry Hackett, who was considered to be the most famous American interpreter of Falstaff; Edwin Forrest, who estabhshed the first $1000 yearly prize to stimulate American playwriting and whose Othello was beyond compare; Edwin Booth (brother of the demented John Wilkes Booth) who was most probably America's greatest actor, ac- cording to George Freedley, the well-known theatre historian; and George Harrington, who took the nom de theatre of "George Christy," thus continuing the tradition of "Christy's Minstrels." Original playbills will also be found in the body of the report. Furthermore, a list of the oc- casions on which Lincoln attended Ford's Theatre and a complete list of all performances given at Ford's is included in the appendix. This material, it is hoped, will prove of wide interest to students of the American theatre for it is one of the unique features of the report. The bibliography includes the principal documentary sources and should prove useful to those desirous of exploring a fas- cinating subject but which is beyond the scope of this study. The index has been especially pre- pared with cross references to the text, illustrations and architectural drawings in answer to the many requests of students for information which will enable them to prepare models of this historic site. While the assistance of persons interviewed is in- cluded in the text, special mention should be made of the following with a word of thanks to those who may ha\'e been overlooked. Ample footnotes throughout the study permit corroboration of all citations. Without the continued interest of friends of the Ford Theatre project in the Congress, this study could not have been undertaken. Among these are Senator Carl Hayden of Arizona ; Senator Milton R. Young of North Dakota ; and the follow- ing members and former members of the House of Representatives : Ben F. Jensen of Iowa ; Fred Schwengel of Iowa ; George Dondero of Michigan ; Clement J. Zablocki of Wisconsin; the late Chauncey W. Reed of Illinois; and the late Clyde Doyle of California. Ralph R. Roberts, Clerk of the House, and his Deputy, H. Newlin Megill, made available legis- lative records now on deposit with the National Archives. John F. Haley, Staff Director, Joint Committee on Printing, deserves special thanks for his interest and suggestions regarding publica- tion of the report. J. George Stewart, Architect of the Capitol, provided much information on the work of his predecessor, Edward R. Clark, who supervised the remodeling of Ford's Theatre in 1865. Mrs. Lillian R. Kessel provided docu- mentary information from the records of the Li- brary of the Architect of the Capitol. At the Library of Congress, Dr. David Meams, Dr. C. Percy Powell, Dr. E. N. Waters, John W. Peros, Miss Virginia Daiker, Frederick R. Goff, and Paul E. Swigart provided information and copies of materials from their special collections. Former colleagues at the National Archives pro- vided the bulk of documentary materials used in the study and are deserving of special mention. They are: Elmer Orris Parker, Sara D. Jackson, Ralph Huss, George P. Perros, Philip P. Ward, Richard S. Maxwell and Miss Camille Hannon of the Library staff. Thomas H. Bailey and Elmer Roy Griffith provided especially fine photographic reproductions of archival materials. Unique finds from theatre collections were pro- vided by the New York Public Library, Harvard University Library and the Maryland Historical Society, the latter being custodian of the Ford Family Papers. Materials of a genealogical nature, which helped in tracing some of the more elusive aspects of the theatre's history, were provided by George D. Ford, Frank Ford, Mario Da Parma, Colonel Ford Richardson, Mrs. John T. Ford, HI, and John Ford Sellers. All are descendents or related to descendants of the Ford family which operated the theatre and their contributions are noted in the body of the report. Backstage operations and traditions of the theatre were brought to life by John T. McLaughlin, manager. Ford's Theatre, Baltimore; Scott Kirkpatrick, manager. National Theatre, Washington, and the following members of the production staff" and cast of the "Sound of Music": Sammy Lambert, William O'Brien, Karen Ford, Jeanne Shea and Peter Laurini. Specialists in various fields read parts of the report and provided useful suggestions. Among them are: Reverend Gilbert V. Hartke, Head, Department of Speech and Drama, Catholic Uni- versity ; George Freedley, Curator, Theatre Collec- tion, New York Public Library; and S. Surjalla, noted scenery designer. xiu The overall aspects of the study were prepared under the guidance of T. Sutton Jett, Director, National Capital Region; and Cornelius W. Heine, Assistant Regional Director, Conservation, Inter- pretation and Use. Herbert E. Kahler, Chief, Division of History and Archeology, and Dr. Charles Porter, HI, Branch of History, National Park Service, read the report. Randle B. Truett, Chief Historian, National Capital Region, de- serves special thanks for his technical guidance during all stages of the work. William M. Haussmann gave technical direction to the work of the architects. Charles W. Lessig supervised preparation of the Historic American Building Survey drawings which were drawn by William A. Dennin and Laima J. Kalnins. The drawings represent the conclusive evidence of the architects and copies have been deposited in the Library of Congress. The historical and architec- tural evidence presented herein is the best available and will lead to the authentic restoration of Ford's Theatre as it appeared on the night of April 14, 1865. Both historians and architects look for the full restoration of Ford's Theatre so that the true story of this historic site may be properly inter- preted and be an inspiration to all mankind. G. J. Olszewski Ford's Theatre April 14, 1962 LIST OF ILLUSTRATIONS Figure Pag« 1. Last photograph of Abraham Lincoln, April 10, 1865, by Alexander Gardner " 2. First Baptist Church of Washington, 1862 6 3. John T. Ford, c. 1865 8 4. First musical concert under Ford's management 9 5. Program of second night of opening season, Ford's Atheneum 10 6. Engineer probings of foundations of Ford's Theatre 11 7. Program of Lincoln's favorite Shakespearean actor 12 8. Personalities of Ford's Theatre 14 9. Mr. and Mrs. Harry Clay Ford, c. 1870 15 10. District Surveyor's plat. May 5, 1866 16 11. HR 684, "An Act to Incorporate the Washington Theatre Company" . 18 12. Ford's Theatres, Washington and Baltimore, 1863 20 13. Architectural exploration for original cornerstone of Ford's Theatre by Architect Dennin and Historian Olszewski 22 14. Ford's Theatre from F Street, April 1865 23 15. Original wooden roof trusses still in use. Ford's Theatre, 1963 24 16. Original wooden lookouts, interior view, 1963 25 17. Old Ford's Theatre Building from F Street, July 4, 1961 26 18. West Fagade, Old Ford's Theatre Building, August 2, 1963 27 19. Architectural exploration of interior Ford's Theatre Building, March 15, 1961 28 20. Views of south wall. Ford's Theatre, 1930 29 21. Contemporary sketch of east or rear wall by A. Berghaus 30 22. Contemporary sketch by A. Berghaus of Ford's Theatre at time of assassination ■''1 23. Contemporary photograph of Ford's Theatre and Star Saloon from E Street by M. Brady 32 24. Contemporar/ sketch of overall scene in Ford's Theatre by A. Berghaus . 34 25. Draftsman's c jpy of original sketch by Jno. T. Ford 36 26. Ford Tneatre tickets, April 14, 1865 37 27. Seat plan of orchestra and parquet 38 28. View from stage of presidential box and general seating arrangements of Ford's Theatre 40 29. Seat plan of dress circle 41 30. Closeup of chairs in orchestra and dress circle 42 31 . Closeup of seating arrangement in dress circle and benches of family circle 44 32. Architectural details of presidential box and interior of Ford's Theatre. 46 33. Contemporary sketch of passageway to presidential box and closeup of original door to box 7 48 34. Details of decorations of presidential box and closeup of interior, April 14, 1865 49 35. Closeup of stage center by M. Brady, showing part of orchestra pit . . . 50 Page 36. Contemporary sketch of presidential box and interior of Ford's Theatre by A. Waud 51 37. Original stage plan of Ford's Theatre used during the trial of the Lincoln conspirators 52 38. View of rear wall at time of collapse of part of interior of Ford's Thea- tre, June 9, 1893 54 39. Closeup of details of Star Saloon and possible location of cornerstone . . 55 40. Final playbill prepared for Lincoln's attendance at Ford's Theatre, April 14, 1865 56 4L Ticket for reserved orchestra chair, April 14, 1865 57 42. Closeup of typical poster of Ford's Theatre, April 1865 58 43. Stage setting at time of assassination, Act III, Scene 2, "Our American Cousin" 59 44. Original pencil sketch by Jno. T. Ford while in Capital Prison, May 1865 60 45. Threatening letter received by Ford 62 46. Final Treasury settlement for purchase of Ford's Theatre, July 21, 1866 64 47. Proposal of Architect of Capitol for remodeling Ford's Theatre, July 27, 1865 65 48. Early phase of remodeling of Ford's Theatre, c. September 1865 66 49. Public advertisement for submitting bids for remodeling Ford's Theatre, August 4, 1865 70 50. Contract for remodeling Ford's Theatre by Richard Dunbar, August 4, 1865 71 51. Proposal of Architect of Capitol for strengthening west facade of Ford's Theatre, August 4, 1 866 75 52. Interior of Ford's Theatre Building after collapse in 1893 76 53. Ford's memo supporting attorney's request to remove proscenium and iron columns from his theatre 71 54. Detail of lintel and original casement window 82 55. Interior of presidential box. (Upper) Painting by Chas. Gulager and (lower) sketch by A. Berghaus 100 56. Original Treasury Guards flag, Washington engraving and sofa from presidential box 101 57. Rocker in which Lincoln was shot 102 58. Original French clock from greenroom of Ford's Theatre, 1865 103 59. Program of Maggie Mitchell night Lincoln attended Ford's Theatre. ... 105 60. Program of John Wilkes Booth night Lincoln attended Ford's Theatre. . 106 61. Diorama of stage of Ford's Theatre, designed and built by Rudolf W. Bauss 108 62. Letter of Frank Ford 124 LIST OF HISTORIC AMERICAN BUILDINGS SURVEY DRAWINGS PLATE I. Ford'sTheatre, Washington, District of Columbia: Page Sketch Map Showing Location 68 II. Basement Floor Plan 72 III. First Floor Plan 74 IV. Second Floor Plan 78 V. Third Floor Plan 80 VI. Reflected Ceiling Plan 84 VII. Roof Plan 85 VIII. West Elevation 86 IX. North Elevation 88 X. East Elevation 90 XI. South Elevation 91 XII. Cross Section, B-B 92 XIII. Cross Section, A-A 94 XIV. Longitudinal Section Through Centerline 95 XV. Details of Presidential Box 96 XVI. Front Elevation, Window Details 97 XVII. Miscellaneous Details 98 XVIII. Miscellaneous Details 99 688-440 0—63- ADMINISTRATIVE DATA NAME AND NUMBER OF STRUCTURE The structure studied in this report is the build- ing known as Old Ford's Theatre and its two annexes, the dressing room annex at the northeast corner of the building and the former Star Saloon building which was to the south. It is located at 511 10th Street, Northwest, Washington, D.C., and faces west midway in the block between E and F Streets, Northwest. PROPOSED USE OF STRUCTURE AND JUSTIFICATION It is proposed that the entire structure, includ- ing the theatre's interior and the two annexes, be restored to their original appearance as of the night of the assassination of President Abraham Lincoln, April 14, 1865. This office recommends, therefore, that approval be given to the complete restoration of Ford's Theatre so that the scene of this tragic but historically significant event can be reproduced accurately and in the most minute detail. This office is also of the opinion that only by means of a complete restoration can the theatre be properly interpreted. Provision will also be made to house the Lincoln Museum and the Lin- coln Library within the structure. PROVISIONS FOR OPERATING THE STRUCTURE It is proposed that the structure be operated as a historic site under the National Capital Region, National Park Service, in approximately the same manner as at present with provision being made for adequate operating personnel. Within the in- terior of Ford's Theatre and the two annexes. sufficient space should be provided to facilitate the operation of the interpretive program as follows: (1) The basement floor of the south annex should include public rest rooms. The first floor should house a concession stand and rooms for guards and the historian/museum manager. The second floor should house an assembly room for school and other groups. The third floor should house the Lincoln Library and its historical col- lection of manuscripts. (2) The basement of the northeast annex should include storage space for study collections, a vault for maximum protection, and a storage room for framed pictures on racks. The first floor should contain a janitor's room and rest rooms for per- sonnel. The second, third, and fourth floors should contain the custodian's offices, a guard- room, and storage and work space. (3) Funds for refurnishing the restored struc- ture and for the installation of the Lincoln Mu- seum in the basement of Ford's Theatre to be equipped with modern museum cases and inter- pretive panels of contemporary design, and for the Lincoln Library, will be derived from a portion of the funds to be appropriated for full restoration of the structure. PRELIMINARY ESTIMATE OF COST FOR RESTORATION A preliminary estimate of the cost for a com- plete restoration of Old Ford's Theatre Building and the two annexes will be approximately $2,000,000. Owing to rising construction and restoration costs since the original estimate, the foregoing figure may be exceeded after completion of the architectural study and the final develop- ment of all plans and specifications. HISTORICAL DATA by George J. Olszewski, Ph. D. Historian National Capital Region HISTORICAL DATA PART I — Ford's Theatre Building, 18JJ-1862 THE FIRST BAPTIST CHURCH OF WASHINGTON The site on which the Old Ford's Theatre Build- ing now stands was originally occupied by the First Baptist Church of Washington constructed in 1833/ The edifice also became known as the Tenth Street Baptist Church to distinguish it from later-formed congregations.^ When the Fourth Baptist Congregation was formed on Thirteenth Street, Northwest, in 1859, it was joined by that of the First Baptist Church which gave its name to the united groups.^ The structure on Tenth Street, Northwest, was thereafter abandoned as a house of divine worship.* However, since there was a chancel or raised platform at the east end of the church to accommodate the pulpit and choir, it was not diihcult to rearrange the setting for musical concerts that were given from time to ' Minutes of the Board of Trustees, First Baptist Church of Washington, DC, 1833-1859, passim. Cited hereafter as Board Minutes. Personal interviews, Dr. Edward H. Pruden, Pastor, First Baptist Church; Dr. M. Chandler Stith, Executive Secretary, District of Colum- bia Baptist Convention ; and Mrs. Dorothy Winchcole, Historian, First Church, to Olszewski, Washington, October 12-13, 1960, and March 21, 1962. Capital Baptist, V, No. 4 (October 29, 1959), 5. See also Dorothy Clark Winchcole, The First Baptists in Wash- ington, D.C., 1802-1952 (Washington, 1952), esp. pp. 9-11, 43. National Intelligencer (D.C.), 1833-1859, passim. ' Stith, op. cit. 'Ibid., and Capital Baptist, op. cit. ' Stith, op. cit. See Figure 2, drawing by an unknown artist. Original in L.M.C. time in the church building.^ Undoubtedly, it was this feature of the structure that attracted the attention of John T. Ford, a theatre entrepreneur of Baltimore, Maryland, when he arrived in Wash- ington in the fall of 1861, seeking a location for theatrical purposes.^ It was about this time that the Board of Trustees of the First Baptist Church decided to divest itself of the land and building, owing to the financial burden of maintaining the structure since it was no ' See Figure 4. Original playbill in Rare Book Divi- sion, Library of Congress (L.C.). National Intelligencer, November IB, 1861. 'John Ford Sollers, Excerpts from the Theatrical Career of John T. Ford, 1959. Chap. Ill, p. 3. Sollers is the grandnephew of Harry Clay Ford and is writing this biography for his doctoral dissertation. He has presented copies of Chap. Ill and IV of his work to the Lincoln Museum Collection (L.M.C). Copy in Ford Theatre Collection (F.T.C.) which deals solely with the theatre and its history. NOTE: John T. Ford (b. April 16, 1829), son of Elias Ford of Baltimore, Md., was the eldest of the three brothers who operated Ford's Theatre, Washington. James Reed Ford (b. March 14, 1840) was business manager and Harry Clay Ford (b. January 13, 1844), treasurer. Two sons of the latter, George D. Ford of La Canada, Calif., and Frank Ford of New York City are still living and have provided much valuable information on Ford's Theatre. Frank Ford recently presented his grandfather's Bible and other mementoes to the L.M.C. John T. Ford, who often signed his name "Jno.", will hereafter be referred to as 'Tord" to distinguish him from other members of the family mentioned in the report. Ford was usually known around the theaU-e as "Mr. Ford"; H. Clay Ford was known as "Harry"; and James Reed as "Dick." George D. Ford to Olszewski, Lambs Club, New York City, April 8,1962. See Figure 3. Original daguerrotype in L.M.C. BAPTIST CHURCH CORNER STONE LAID IN 1833 THE OBIGINAL FORD THEATER ir^ii.vjQxeTn^'&feJVtsK ■ Figure 2 (LINCOLN MUSEUM COLLECTION) longer being used for sectarian purposes.' Despite the prediction by a member of the Church Board of a dire fate for anyone who turned the former house of worship into a theatre,^ Ford leased the building on December 10, 1861, for five years with an option to buy the property at the end of that period.' Ford, at the time, also managed the Holliday Street Theatre or "Old Drury" as it was more generally known in theatrical circles, in Baltimore, Md., and the Academy of Music in Philadelphia.'" "Old Drury", built in 1796, was one of the oldest theatres in the east." Ford's Washington venture was to eventually earn him considerable popularity in theatrical circles,'^ despite the tragic end for which his theatre was destined. The land on which the church stood originally encompassed that portion of Square 377 known as Lot 10, although a section of the present southeast corner, an area of approximately 20 feet north to south and 22.17 feet east to west formed part of a public alleyway laid out in 1792.^'' The alley- way formed a U-shaped area with a similar section on the northeast corner of Lot 1 1 and was joined by a 30-foot wide section to the rear of the church." From west to east the alleyway united an area of similar width at the rear of structures on Ninth Street. '° Midway, this alleyway was inter- sected by a 15-foot wide exit to F Street and was to gain dubious prestige in April 1865, when it 'Stith, op. cit. Capital Baptist, V, No. 43 (October 22, 1959), 5. 'Board Minutes, 1861. Capital Baptist, V, No. 44 (October 29, 1959), 5. ° Sollers, op. cit. National Intelligencer, December 21, 1862. "See Figure 12. Sollers, op. cit., p. 6. " Advertisement in Polk's Directory of the District of Columbia (Washington, 1865), p. 197. " Sollers, op. cit. p. 6. " See original survey drawing in Certificates of Survey, Book 29, Square 377, 1792, Office of Surveyor, District of Columbia (O.S., D.C.), p. 100. "See Figure 10. Original in Record Group (R.G.) 94, Records of the Adjutant General's Office, Record and Pension OfSce, War Department, dated January 16, 1904, file No. 765556 with 369101, National Archives (N.A.). ^' "Plot of Survey of Alleys in Square 377," Washing- ton, January 22, 1912, in Certificates of Survey, Book 29, op. cit. became the escape route of the assassin of Presi- dent Abraham Lincoln.'" FORD'S THEATRICAL VENTURE, DECEMBER 1861-FEBRUARY 1862 Ford immediately rented the theatre to George Christy who, however, advertised the structure as "The George Christy Opera House." " Christy's Minstrels performed with great success from De- cember 13, 1861, to February 27, 1862,'« when Ford closed the building and proceeded to reno- vate it.'" According to playbills of the time, general ad- mission was $1.00; reserved seats, 50^ extra. Tickets were sold by W. G. Metzerott, who con- ducted a music store on the corner of Pennsylvania Avenue and 11th Street, N.W., the site later to be occupied by the Evening Star Newspaper Com- pany. John T. Ford's name does not appear on advertisements for these performances.^" The fact that only two prices were charged for seats would indicate that no immediate interior struc- tural changes had been made and that the basic seating arrangement of the church pews and bal- cony had been adhered to. Undoubtedly, Ford was testing the reaction of war-time Washington audiences to a new theatrical venture before in- vesting additional funds in the building. Ford's main theatrical competitor at the time was Leon- ard Grover, who had started to rebuild the Old National Theatre, or Grover's Theatre, as it was also known, on E Street, N.W.^^ Following the final performance of the Christy Minstrels on February 27, 1862, Ford proceeded to remodel and to renovate the building based on plans drawn by James J. GifTord, chief carpenter of the Holliday Street Theatre in Baltimore.^'^ From contemporary newspaper descriptions -^ it "Ibid. National Intelligencer, April 15, 1865; New York Herald Tribune, April 15, 1865. " National Intelligencer, December 12, 1861, to Febru- ary 26, 1862, passim. Sollers, op. cit., p. 3, n. 76. "* National Intelligencer, op. cit. "° Sollers, op. cit., p. 3. "* See Figure 4. ^ Sollers, op. cit., p. 4. National Intelligencer, March 18, 1862. " Sollers, op. cit., p. 3. "National Intelligencer, December 1861 to March 1862, passim. I mMMmmMmmsfiJigtimMtdti^t4*dmi^u^Rd» Figure 3. John T. Ford, c. 1865, from an original daguerreotype. (LINCOLN MUSEUM COLLECTION) is possible to reconstruct to some extent the gen- eral appearance of what subsequently became known as Ford's Atheneum. In addition, a brief analysis of the available evidence regarding the theatre and its tragic end may prove to be of value in bolstering the validity of some of the assumptions reached in tracing the construction of Ford's New Theatre and its history to the time of Lincoln's assassination.^* FORD'S ATHENEUM, MARCH 19 TO DECEMBER 30, 1862 On February 28, 1862, Ford started renovating the building, investing $10,000 in new construc- tion and remodeling.^^ Ford and Gifford un- doubtedly planned well for, despite war-time re- strictions on materials and labor, the renovated building was opened three weeks later on March 19, 1862, under Ford's own name as "Ford's Atheneum." ^^ John T. Ford was listed on the playbills as manager and proprietor, John B. Wright as stage manager, and Eugene Fenelon as orchestra leader.^^ However, all details of the interior decorations had not been completed since, for a week after the opening, playbills of the theatre begged the indulgence of its patrons.^" Nevertheless, the National Intelligencer, hailed the completion of Ford's Atheneum as fulfilling a long felt need for a first-class theatre.^' Ford had thus gained an advantage over his principal rival, Grover, who was not able to open his New National until more than a month later on April 21, 1862.^° An indication of some of the changes which had been made in the interior of Ford's Atheneum is shown by the change in seat prices. These were : orchestra chairs, $1.00; dress circle and parquet, 500; balcony seats, $1.00; and family circle, 250.^' " See Figure 6. ^ SoUers, op. cit " Ibid. " See Figure 5. ^ Ibid. "March 18, 1862. ^ Sellers, op. cit., p ^ See Figure 5. p. 3. rTtlK nriMUNr) KNOWK AH TIIK TENTH ST. BAPTIST CHURCH BKTWKKN II AM' K r'Tl' . WITIMS ONK «gt AriK ( if THK AVKM E. TucMlay Ev^JTov. 19,^61 MI88 OARLOTTA TTI Th« pnblia *r« rwTtMtftillj iDforiM^ lb*t The 0el6br»t«d Ountatrloe, Whim pMi meow ia tlw AouUnki of M AaiA— (»Mg by iIm (i«««« •'f Nl^i to lUflt riali »tijn HtoOutotU PattL (. L Akwo — pMibi rv'xwnn Mme.' Ctnlioaota and Wg. OtaUmvL e. MaX-II pi I^ACtt— from lh« fropbtt MATEftUtU B«iuT BandcnoiL PART II. 7. QcAvro Ajk«»— Drcm)— Dnng lij Adln* ud IhiltAKian, fron Kluir d'Anor* iHixiirrrr Kte Pattl and Kg. Cantlmni. [b Cimifl Ik,-*, /f^ v.'\ A. lUtAPLAfl— Tuubnir ttabU* Malibnti HiD9. Amalla ttrmluMoh. 9. HoKAKiA— fro* ib« n«a (V», I'a Ri< 1'* In MMtbtn Vbm« ■If. C«DtliiMrL 10. SvCtaf'* Ml»br«l*d KrboHunji. . RrsaiT MlM Oarlotu PattL |«v rw« Jlw4, Hi, ■/] 11. P«Ua dl Comart— •oMpoMil Md [Mrfttraw^ bj Brarr luidvnen. 13. Dt-tTTO IttfVO Patim Mlai Pant and Km*. ttrakoMh. Aimmioii.n: ■■■MHIl IMU, 600. mtlS. Km. x; I. .nnd 1 Ikt Ml.!* lltOT. .r w, u N«tM*MI. Oeon opra tt ■vrtn. Oonoart to oonninn at Bwht. «^Ma terlMU rMil rM hi. • lU li«t-l*»l..BAmu. W IMMr. kMIr l~«4 k> Ml. tkluMI. (library of congress) Figure 4. Playbill of first musical concert under Ford's management. f ®iPS iTHEiEiM _^_. ■ — ■■ ■ . ' i PROPRIETOR & MANAGER- JOHN T. FORD (.1LS0 Of THE IIOLUD.'IY STREET TUEJITER.) STAGE MANAGER JOHN B. WRIGHT Id (jpoTiiDg a iir-t-cla^-- placi: <>!' imusempnt at this early period, but a few brie:' \ri-ok8 .sinop its construction wn"? dfsigDed, tin' rr.aua^cr ami proprietor trustfully wlicita Ibr- iodulgeQce of bis pntif^n* tnr :i fi'w days. Thp thousand and one accessories to ibu ( Hect of performances ami tln^ comfort of tho audiences bave been anticipated as far a» po.'sible ; yet, of eoiirae, many have been overlooked. A brief time will make this place w\ near perfect as means and an earnest desire to please will permit. I'ntil then, tho kind forbearance of the puMie i^ anticipated. Kesp.^otfully, JNO. T. FOHD. m m mwmmw if ifhi %m»M%m 111 Ai.p.-aiaiH-,. L.llli' |-..|(l,i:,i..il A.'rr,—.. MISS. LHCILL E WESTEKH • — — — — — -.—. — — — -.— „ ■..,. - ..I i- __yju — ; Thursday Evening, March 20th, 1862 Ti Will U- j.r.-Tlcl l!..-*)..!!,.! M.l.ci H Or, THE STORMING OF ALGIERS. MATHILDE, I MF.NUI ST. AI.Mf;, [ . W1L1> Al'.AI! P.f)y > Miss LUCILLE WESTERN S'XIXJIM'OSBE. M.ir,l,al licauuiom -Mr.f. H.HARIIISO.N «ol. IV four.) Mr. T. II. K.MOHT Mr. f.EOr.OE DECKS . ..Mr. C 13. IJISllOP ilsjqr Didicr 'i'linie l>:i\ftrdr. . . ,M. T, A. J1,\I,I, Dfficds. . . .Mcjr,-. WILSON i DURAMJ MiuliiiiK' DolKMrz Mis!^ CROSS) Mail- Mi'i WARE K-idl.' Misj PATTERSON Clfiri. Mi<. BENNKTT Mojiaianierl . Ali Parl.H . . . Oia-*nim . . . . ^A.xiCi'Xszi.xrJ'zis. VIr, H Fl. I.liAK I .Mr. .1. li.MLEV Mr S. K. CHESTER Mr. WALTON Ml. TAYLOR B3^A GBANO BRQAOSWOnO GOIiSAT! Ill .Ml . U.' i.Mi .u.il .Mr. Clicl.r. Iiiii:i- -A,- K>.r,K:_. •,„ i.i|!i'HEST1;A wrll pcrlucm ii NATIONAL OVERTURE: INVITAZIOirE E PENSIEBO, XABCHSS; BONIflE DUNDEE. QUADRILLE; HILITAIIIE. POLXA: LA TEAVIATA. VAL8E 1 KADE): M, Ei:uE.\E FE.\ELO.\ ia Zingarella, m^ OUTia r , .».imI.i.I. Willi III.- S|miUiiijC„i,„.,li. Ill, ..(THE IRl^H BEAUTY Or, THE MAID OF MUNSTER! KATE, with Soukh Miss LUCILLE WB8TSBM •'■"'an Ml. 1 l: niSllOI' I Sir l.nvr.n.-. Mr, T. A. HALL 1 liarlp I'liraanii Mr T, II. KMIOIIT | N..i.. Mr. C. D. BISHOP PRICES OF \ OMISSION. "^ Ureos Circle &Pai'quotto 50ct8. I Balcony Seats Orchestra Chairs $1 1 Family Clrole.-, . >.. . HOX OKKICK o[ion from 1> to I oVlnek, wlion kaXh din bo .«WBml. DOORS OPEN at 7 o'clock. CURTAIN RIMiS, quartertT* «l 88 OM. H. PouaBhim. riiattr. W|tU>|(«i, (library of congress) Figure 5. Program of second night of opening season, Ford's Atheneum. 10 (photo by abbie rowe) Figure 6. Engineer probings in basement of Ford's Theatre showing (left) blue clay foundations of north wall, and (right) rock and concrete foundations of south wall. The latter may be the original foundations of the First Baptist Church. From its opening on March 19, 1862, Ford's venture achieved considerable success.^^ An analysis of the productions staged during the first season revealed that Ford chose excellent com- panies and first rate stars to grace the Washington Civil War theatre scene. ^'' Lincoln attended Ford's Theatre on May 28, 1862, for the first time, thus adding considerable prestige to the theatre's list of distinguished patrons.^* It was during the height of the second season, however, that tragedy struck Ford's Atheneum as if confirming the dire prediction made when Ford leased the church property. About five o'clock on the evening of December 30, 1862, fire caused by a defective gas meter broke out in the cellar under the stage.^'* Fed by the combustible materials of the dressing rooms and stage scenei7, the holocaust raged well into the night, lighting the Washington skies. By morning only the blackened walls remained standing. The entire interior of the theatre was gutted.^" Ford's loss, which was only partially covered by fire in- " National Intelligencer, Washington Evening Star, March to December 1862, passim. " Ibid. "" Earl S. Miers (ed.), Lincoln Day by Day (A Chron- ology, 1809-1865), III (Washington: Lincoln Sesqui- centennial Commission, 1960), 116. See also figure 7 of Hackett's earlier playbill. Original in Rare Book Division, L.C. '^National Intelligencer, Evening Star, December 31 1862: '■"Ibid., January 1-3, 1863. surance, was estimated at $20,000. In addition, the orchestral instruments, music and the cos- tumes for Balfe's operatic spectacle, Satanella, which had been scheduled for that night, were destroyed.'" Fortunately, there was no loss of life. Buildings to the north and south of the theatre were also damaged by the fire.^* Theatrical col- leagues oflFered to sponsor benefits to aid Ford and the Balfe Company to recoup their losses. Ford declined for himself, but accepted for the com- pany. Subsequently, a benefit was given at the New National by Grover's company and by various Washington theatrical artists.'" Despite his losses, Ford immediately went ahead with new plans to construct a larger and more magnificent theatre on the same site.*" Undoubtedly, the far-sighted war- time policy of the President served Ford's purpose as well since it appears that he had little trouble in obtaining the necessary building materials. It will be recalled that Lincoln said that the construc- tion of the Capitol must go on "to show the people of this Nation the continuing strength of the Union." " ^National Intelligencer, December 30, 1862. ''Alexandria (Va.) Ga2f«^, December 31, 1862. ""National Intelligencer, January 3, 1863. '"Ibid., April 27, 1863. " Diary, Brevet Major General Montgomery C. Meigs, Chief of Construction, Corps of Engineers, War Depart- ment. Original in Meigs Papers, MSS Div., L.C. Chi- cago Daily Tribune, 1863-65, passim. 11 Ford's Athenenin Tenth alrttt, between Eand f ttrettt. PROPRIETOR & MANAGER JOHN T FORD (AUo, or the Holud.r strxt Tholer.l "''■"■" *• ' «-'»*' CROWDED HOUSESI BRILLIANT RECEPTION GIVEN TO MR. HiGlEfT Who will appear thi& ei-iming in iiit. world reouwoed character of FALSTAFF PRETENDING LOVE SHAKSPERB'S Reached un Tuesday cvi-oing by a Crowded aoj Brilliant Auditontim, with SHOUTS OP LAUGHTER AND ENTHUSIASTIC APPLAUSE MS JLJ^Sir THUHSDAir EV'NG, May 15th, 1862 WILL BE PERFORMED I^ FIVE ACTS, E\TITLED THE HEBBYVMOIWIKOI Wht-ruin tli') Immor'.al Bard haa L-ontrivL-d to i-ombinclhi- Uiglitht diti-raion with tUcmofctbalutary Uedpn, and ihown how a couple of merry, yet houcBt Hivoa, met the Impudent advamvi ol' a rain old coxcomb, and by an innocent and aportiro coquetry. mialM him to Iw nearly suff.vatt^l in a buckliaaket, well ducked in the> rivor, boundly thrashod in fomalv disgnt&o, and vVfutuAlly expoe«4 to the laughter and ridicule of all ob&i)rvcrfc. SIB JOHN FALSTAFF, a Fat Knight, prL-teading lovo t« the M«rjry Wivo6...Mr. HACKETT Francis Ford, the jealous husband John'tfcCnUongh Gforgc Pact', liic secure husband J. A. Ilcroc Abraham Slander, a fuoliih country U'|uirr, in lovt- with Anne I'ngt-. . , , . <_'. U. Harrison DtK-ior C'aiu^, a French phj^iciun U". II. Ltair yir Huph Evani', a W't-lih prici-i, I'uratu and icliouhiiiisltT at ^\'llll!;■vr W. I'arUtr HobiTt Shailo A, Esq., a country Ju-lici' M. Latitngau Mkstcr I'tnton, u jounggiiitkmtn of small rortuiicyn tovc with Aiim'Pu;;i', Mr^.!\.C.I''orr^slc^ Ht>* t>f the Uarler, a inTrv talkiu^: iVIlow N. C. ruricster Bardolph ) i J.W.Carroll Njm > ShiirptT-.. mi-udui^' K-iI-tiitV \ W^ora^^ Bcck> Pistol S ? J.N.Taylor Joliii f* mple, ;-ervaiil to Sl»'tidi.-T . . -J. Williaiut Juli.T Hi'ift'y, jffvaut to Doctor (.'aiu? J. Daily Hobcri l\ n. t-JjlLiShiT Ucliii, pagfr !o I-'nhtdll ... Mi ^ Kaiit Parki-r Mrs. Pa'T I TliC ^ Mis- Aimi. ll'jjgv^ Mf:^. I.-,,^j ,, \ M*fr/ \\\\K > Mis» AnuK- Oruhom Anut Pii^r. baUL'httr to P»ge. in lo\e wiili Kentun Mi^* Liui la Andtt.'un L>antc Uuichly, FlouMjkctper to Doctor Caiu^ -Mr.-. J. K. Viuceoi Ita Bebatrsai— Maekiin'sCBrebrated Comedy of The Man of the World BATUROAY—iABT XflOHT Or MR BACKBTT. SJS^ Dwrl OpcD >t quarur 7 o'clucli. C'utiiiin llisi-. MSuVluek ,1 i'.-".r,l. .: •■ (library of congress) Figure 7. Program of Lincoln's favorite Shakespearean actor. 12 PART II— Ford's Theatre, 1863-65 PLANS FOR A NEW STRUCTURE John T. Ford's plans for a new theatre called for the construction of a more elaborate edifice than the fonner converted church building which had been destroyed by fire. Ford's builder, James J. GifTord/ who drew up the original plans for the present structure, also designed and supervised its construction. The work was started in February 1863 and the theatre, known as "Ford's New Theatre," ^ was opened to the public on Thursday, August 27, 1863, with Mr. and Mrs. C. B. Bishop, playing the leading roles in a "brilliant" perform- ance of The Naiad Queen? As Giflford's original plans have been the subject of a never-ending search, especially during the past twenty years, without success, a few words on the significance of the present study may be ap- propriate. It was generally believed that Giflford's original "drawings," i.e. plans, "if such ever ex- isted," ■* may have disappeared in the hectic his- tory of Ford's Theatre following the assassination of President Abraham Lincoln on April 14, 1865. Consequently, the histoiy of Ford's Theatre had become surrounded with an almost impenetrable aura of rumor, hearsay and fiction. The failure to discover the original architectural drawings of the theatre naturally did little to dispel the un- reality of the situation, especially when plans to restore or partially restore the theatre were con- templated by the Congress in 1954. Pursuant to Public Law 372 of the 83d Congress, a study of the Ford Theatre had been made by the National Park Service and submitted to Congress in July 1955.'' Due to the renewed interest in the possible ' See Figure 8. 'See Figure 12. ^National Intelligencer, August 28, 1863. See also Appendix "B" for a complete "List of Productions at Ford's Theatre, August 1863 to April 1865." Ruby Overman and Stephen Fenster compiled part of this material. ' Stanley W. McClure, Historical and Architectural Features Significant in the Restoration or Partial Res- toration of Ford's Theatre (Washington: U.S. Depart- ment of the Interior, N.P.S.,N.C. P., 1956), p. 2. " See "Notes on the Reconstruction of Ford's Theatre, prepared by the Architectural Branch, N.C.P., for use in full restoration of Ford's Theatre as part of the MISSION 66 program of the National Park Serv- ice," and also as one of the outstanding features of the Civil War Centennial celebration, funds were appropriated under Public Law 86-455 of the 86th Congress to carry out "preliminary architec- tural and historical research, the preparation of construction drawings and for exhibit planning." ' As a result of this congressional action, the cur- rent project was begun in September 1960. The present Historic Structures Report represents, therefore, the results of these investigations. One of the primary objectives of the current project has been to find the original plans used in constructing Ford's Theatre in 1863. Another objective has been to dispel the aura of unreality surrounding the multi-faceted aspects of the theatre's history and its architecture. As a result current investigations have led to the examination and evaluation of practically all known and re- lated records of civilian and military agencies of the government which may have been connected with the history of the Ford Theatre building in one form or another since the tragic events of Good Friday, 1865.- In addition contemporary the report to be provided by the Congress as required by P.L. 372, 83d Congress," July 1955. Statement of Sen- ator Milton R. Young of North Dakota at the Hearings before a Subcommittee of the Committee on Appropria- tions, U.S. Senate, 86th Congr., 2d Sess., on H.R. 10401 ("Making Appropriations for the Department of the Interior and Related Agencies for the Fiscal Year Ending June 30, 1961, and for Other Purposes"). (Washing- ton: U.S.G.P.O., 1960), p. 990. "Statement of Conrad L. Wirth, Director, National Park Service, Ibid., p. 723. ' Recommendation of Senator Carl Hayden of Ari- zona, Chairman, Subcommittee of the Committee on .Appropriations, Ibid., p. 1065. Act approved May 13, I960, 74Stat., 104. ^ Among the more important official records examined at the National Archives are the following: Record Group 42, Records of the Office of Public Buildings and Public Parks of the National Capitol; R.G. 46, Records of the United States Senate; R.G. 48, General Records of the Department of the Treasury; R.G. 66, Records of the Commission of Fine Arts; R.G. 77, Records of the Office of the Chief of Engineers, War Department; R.G. 79, Records of the National Park Service, Depart- 13 rri»i»^ (LINCOLN MUSEUM COLLECTION) Figures. Personalities of Ford's Theatre: (Upper left) Harry Clay Ford, c. 1865; (upper right) James J. Gifford and son, Robert, aged 6, c. 1864; (lower left) John Wilkes Booth, c. 1865; (lower right) Jennie Gourlay, one of Booth's favorite girl friends, c. 1865. 14 Figure 9. Mr. and Mrs. Harry Clay Ford, c. 1870. (LINCOLN MUSEUM COLLECTION) drawings, sketches, eye-witness descriptions, photographs, and plans and specifications for later work on the theatre have been carefully evaluated. New light has been placed on the original depositions and statements of employees of Ford's Theatre made shortly after the assassina- tion. Current literature on the subject has veri- fied some earlier assumptions. Living descendants of persons, who had been associated with Ford's Theatre in one capacity or another, have been interviewed and disclosed new facts regarding the ment of the Interior; R.G. 92, Records of the Office of the Quartermaster General, War Department; R.G. 94, Records of The Adjutant General's Office, War Depart- ment; R.G. 107, Records of the Office of the Secretary of War, War Department; R.G. 110, Records of the Provost Marshal General's Bureau, 1863-1866, War Department; R.G. 128, Records of Joint Committees of Congress; R.G. 129, Records of the Bureau of Prisons; R.G. 137, Records of the Procurement Division (Treas- ury) ; R.G. 153, Records of the Office of the Judge Advocate General (War), especially files of the Lincoln Assassination Suspects; and R.G. 217, Records of the General Accounting Office. theatre. Thus it has been possible to definitely establish many of the original architectural fea- tures of the theatre and its early history. Under these circumstances, the loss or disap- pearance of the original plans of the theatre is not as significant as would appear at first glance. The resulting information is sufficient from both the historical and architectural viewpoints to enable the Architectural Branch of National Capital Parks to approximate within very close limits the basic design, plan and appearance of the original structure.^ Ample footnotes throughout this study will make verification of all dimensions, changes in structure, and other pertinent details easily corroboratable. Basically, Ford's plans in- " Statements of William M. Haussman, Chief Archi- tect, and Wm. A. Dennin, Supervisory Architect, Architectural Branch, N.C.P. to Olszewski October 12, 1960, and March 15, 1961. In January 1962 N.C.P. was reorganized and its title changed to "Region Six, N.P.S." It is now known as "National Capital Re- gion" (N.C.R.). 688-440 0—63- 15 '^nxvt^vx^ (Blikt, \f/^ ta'\-'^ r- -i 4 ■V> O iV, VA/VCA-SL^ c^ ^/>,u^c/^ ^^ Surveyor of Figure io. District Surveyor's Plat, May 5, 1866. WasMngion, (LINCOLN MUSEUM COLLECTION) 16 eluded the construction of a larger and more im- posing structure than the one destroyed for he had taken steps to procure adjacent land. Acquisition of the Site The original lease for Lot 10 was signed on December 12, 1861, by John T. Ford and David W. Heath, representing the Board of Trustees of the First Baptist Church.'" As he desired to en- large the theatre to the north, Ford, on February 25, 1863, purchased by deed a part of Lot 11 with its improvements from Robert D. Clokey." To the south. Ford had, on February 1, 1963, leased a part of the north section of Lot 9 with its im- provements Irom William H. Phillips for 99 years." With the completion of these land acquisitions, the site of Ford's New Theatre and its north wing and south addition is described in the official Libers of the District Recorder of Deeds as fol- lows : Beginning from a point at the SW comer of the south addition (Lot 9), thence N 95.50' to the NW corner; thence E 57.10', N 14.2', E 27.2', N 9.0', E 22.2', to the NE corner of the north wing; thence S 76.0' to the SE comer; thence W 22.2', S 20.0', W 23.11', S 22.8', W 61.1' to the point of beginning." The overall interior dimensions of the theatre were approximately 67.0 feet N to S and 103.5 feet E to W." Financing of the Project Ford took several steps in an effort to raise adequate funds to promote the theatre project. The most important of these was his attempt to obtain a congressional charter for the incorpora- tion of the Washington Theatre Company, loans on the land and the sale of stock certificates. The Washington Theatre Company Sympathy for Ford's loss of his Atheneum was demonstrated by a benefit performance at Grover's '" See original documents in "Chain of Title Papers to Ford's Theatre Building," Item B-4, in L.M.C., re- ferred to hereafter as Title Papers, L.M.C., with ap- propriate document number. See also Land Records, Liber J.A.S.-215, Office, Recorder of Deeds, D.C., folio 347. 11 Ibid., Liber N.C.T.-l, folio 485. 1= Ibid., folio 479. "Ibid., and see Survey Plat, Figure 10. " Title Papers, L.M.C., Item C-7 and A-9. Theatre and by favorable newspaper articles on his business ethics." Ford was thus able to obtain the backing of some of the most influential busi- nessmen of Washington in his endeavor to secure a congressional charter for the incorporation of a group to be known as the "Washington Theatre Company" which proposed to build a new theatre. In addition to John T. Ford, the group included Richard Wallach, Mayor of Washington ; George W. Riggs, President of Riggs National Bank; and James C. McGuire, Joseph F. Brown, A. R. Potts, Franklin Tenney and Thomas Berry. Capital stock of the corporation was not to exceed $100,000." For this purpose a bill entitled H.R. 684, "An Act to Incorporate the Washington Theatre Com- pany" was introduced in the House of Representa- tives by Congressman Russell B. Train of Massachusetts on January 19, 1863, 37th Con- gress, 3d Session. The bill was referred to the Committee for the District of Columbia." On January 23, the bill was unanimously reported from committee with two minor amendments by Congressman Charles B. Calvert of Maryland, but was returned to committee because of the objection of Mr. Wm. Kellogg of lUinois.^^ On Febmary 8 action was taken on the bill and, despite several attempts to postpone its considera- tion, the Speaker brought the bill up for a vote. It passed the House by a vote of 63 to 59. In dis- cussing the bill's merits on the floor of the House, Mr. Calvert stated : The sole object of this bill ... is to enable a company to put up a decent place of this description in this city. Without such a charter no individual is willing to incur such expense; but with a charter as this, I understand that the gentleman who was so fortunate [sic] as to lose his property by the burning of the theatre on Tenth Street, can get a company "'National Intelligencer, Evening Star, December 31, 1862 to January 3, 1863. "■ See Figure 1 1. Original bill in Records of the U.S. House of Representatives, R.G. 233, N.A., and Records of the U.S. Senate, R.G. 46, N.A. See also Journal of Enrolled Bills, House of Representatives, 37th Congr., 3d Sess., H.R. 684, R.G. 233, N.A. Congressional Globe, 37th Congr., 3d Sess., 34, pt. 1, passim. " H.R. 684, op. cit. " Congressional Globe, op. cit., p. 381. 17 ,•;/■ /<- f om/trxs. ^i liii thA^ruatt iiiiMlousf ot'H'rprr5riit.ni\>fs of tl)f'jiluitr8^t,itrs of^mcrir.un^ ^4^ oii^iYi>c.OvHc.r'CiiU']co;XJ) > y^ r'fY^y ///f/i'/^.^y <^ -y ^v ///yf /^yr rr y /?ujyyir<^ ^f^^-^ '■W.^ ,//. z;*'//^ (^r/f// fy/^/e^ ^ ff/fZ/'ty //t Arc ^^^ei(7f/}'^y ■ ■,y'/,af^y if• '■ y / ■i-r , y^-c' ^ - ' ^ ' -^ - ' -^; ^/ '-'' /> y^y ^ r^r/u / l;<'lniill lAIB.AII rrral )•» JT.FORO C.Mi.iiilv SlM>n. lemi>> lilt- All-Its. Figure 12 (maryI-and htstorical society) its restoration; and the observations and candid opinions expressed in personal interviews with practicing architects, engineers, construction workers, and building material suppliers. Fur- thermore, a comparative study of newspaper accounts of the period ; of photographs by Mathew B. Brady and/or his assistants; of official specifi- cations, plans, drawings and reports of the Corps of Engineers, Quartermaster General, and the Architect of the U.S. Capitol, plus their corre- spondence on the subject, lead to certain valid assumptions and conclusions. Of primary sig- nificance are the levels and transit lines established in the structural analysis report and set of engi- neering drawings prepared under contract for National Capital Parks by Bernard F. Locraft, Civil Engineer, in August 1955.^= ^ See report prepared under contract between N.C.P. and Bernard F. Locraft, Civil Engineer, entitled, "Structural Analysis and Report of the Ford's Theatre Building (Lincoln Museum)," with accompanying illus- trations, Architect's Office, N.C.P., D.I., file No. N.C.P. 85.11-55, Nos. 1-14, cited hereafter as Locraft Plans with appropriate drawing number. From contemporary accounts, lithographed drawings and photographs, it is apparent that GifFord probably relied to a great extent upon the design of the fagade of the Holliday Street Theatre in Baltimore, when he constructed Ford's Theatre in Washington.^'' According to the Brady photographs taken on April 15-16, 1865, imme- diately following the assassination, the structure, i despite the laudatory comments of current news- ' paper accounts, was still unfinished when the theatre was opened for its initial performance on August 27, 1863.^' An apparent bow appears on the Tenth Street pilastered fagade and a later examination by engineers of the War Department revealed the fact that the wall was out of plumb. The wooden lookouts that would normally pro- vide support and fastening for the cornice and I pediment upon completion are shown exposed.^' ""See Figures 12 and 27. ''See Figures 14 and 22 (note mourning drapes), the latter from Frank Leslie's Illustrated Newspaper, May 20, 1865; and Figure 23. Note particularly incomplete cornice and pediment. Locraft, op. cit. ^ Ibid. 20 As of April 1865 the lookouts had not received the wooden millwork to complete the theatre's original design.'" Laying of the Cornerstone The cornerstone for Ford's Theatre was laid with appropriate ceremonies on February 28, 1863, by James J. Gifford at the southwest corner of the building. Eugene Fenelon, orchestra leader of the former Ford's Atheneum, assisted in the ceremonies with other members of the Ford Theatre group." It was anticipated that the structure would be completed in 75 days. The exterior measurements of the theatre were given as "72 feet in width by 1 10 feet in depth." " The Baltimore Sun reported that "in order to secure this amount of space the adjacent buildings have been purchased and will be removed." Un- doubtedly, since the former theatre was com- pletely gutted,*- the entire site was cleared of the rubble of the fire. Adjacent buildings to the north and south, on parts of Lots 11 and 9 ac- quired by Ford, were demolished to make room for the larger theatre. The present north or dressing room wing was undoubtedly preserved and remodeled to fit in with the theatrical struc- ture.*' Although no outward evidence exists of the location of the cornerstone, it is believed that the removal of the parging on the southwest corner of the present building, would reveal its existence.** Foundations Gifford ran into immediate difficulties with the foundations. Quicksand was encountered and the resulting cave-ins delayed work on the struc- * See "Notes on Reconstruction of Ford's Theatre," op. cit., p. 4. "Baltimore Sun, Baltimore Daily Gazette, March 2, 1863. " Ibid. " Ibid. "National Intelligencer, Evening Star, and Alex- andria (Va.) GazeUe, December 31, 1862. "Note: From all evidence it is believed that the cor- nerstone of Ford's Theatre is located at the SW corner of the building. It is also believed that a copy of the original plans drawn by James J. Gifford may have been deposited therein. Removal of the parging by prelimi- nary architectural exploration should at least substantiate ture for almost three weeks before the foundation walls could rest on solid bearing. The walls were finally built on blue clay.*^ Further delays were apparently caused by war-time supply problems.*" Exterior of Ford's Theatre Despite some exterior architectural changes and the diverse history of Ford's Theatre, some of the architectural features as they existed on April 14, 1865, still remain. Among the most important of these are the north and south walls, the west or Tenth Street fagade with its two original case- ment windows in the south bay of the wall, the pilasters, and the five arched doorways.*" Wooden roof trusses still occupy their original location.*'* In 1894 the east wall was rebuilt.** Thus, pre- or obviate this observation. The most significant exist- ing evidence appears to be in Figure 23, a photograph of the west facade of Ford's Theatre April 15-17, 1865, showing the SW corner. Practically all subsequent photos are either blurred or persons are standing in front of this corner. Since the foregoing was written, new evidence has come to light. Cf. Figures 13 and 39. George D. Ford believes that the original cornerstone laid by his uncle, John T. Ford, "who undoubtedly participated in the ceremonies, may contain a copy of the original plans of Ford's Theatre for it was customary to deposit such material in theatre cornerstones of the period." G. D. Ford to Olszevyski, Lambs Club, New York, April 8, 1962. " "Ex-Manager Ford's Story," Washington Post, June 11, 1893. See Figures 6 and 13. "National Intelligencer, April 27, 1863. SoUers, op. cit., p. 7. "See Figure 18. "'See Figure 15. " "Report on Ford's Old Theatre Building," by Addtl. 2nd Lt. John S. Sewell, C.E., to Colonel John M. Wilson, C.E., in charge of Public Buildings and Grounds, Wash- ington, July 25, 1894, pp. 19-20. This report and an earlier one. Ibid., dated December 30, 1893, give an extremely valuable and comprehensive official survey of the architectural changes made and the condition of Ford's Theatre from the viewpoint of the Corps of Engineers, War Department. In addition, it reports all work done on the building following the partial col- lapse of a section of the interior on June 9, 1893. Original reports in R.G. 42, N.A. The latter report will be referred to as "Sewell Report No. 1," the former, as "Sewell Report No. 2." 21 •'*>^fc- ( PHOTOS BY STEPHEN FENSTEr) Figure 13. Architectural exploration for original corner- stone of Ford's Theatre, August 22, 1961, by Architect Dennin and Historian Olszewski. liminary architectural exploration conducted by the Architectural Branch, National Capital Parks/' has confirmed some of the earlier historical findings. '"' No evidence has been uncovered of the source, type and cost of materials and labor used in the original structure.'*' For the purpose of the present report, the historical findings wall be treated first. North wall The lower portion of the north vidW, -which was later subject to considerable structural correction, originally extended about three feet below side- walk level.^' It was 18 inches thick from founda- tion to eaves, approximately 50 feet in height and about 108 feet in length from west to east.^' To provide access from the stage to the greenroom, which was in the four-story north wing, a doorway, about three feet in width and framework was in- stalled about 16.41 feet from the inner face of the wall.^^ The north wall of the theatre was the south wall of the north wing. Another door was in- stalled at the fourth floor level of the building to provide access to the fly galleries and paint bridge in the theatre.'*^ " Now National Capital Region, N.P.S. ^ Statement of Dennin to Olszewski, April 14, 1961. "See Figure 14. "■ See "Report of Lt. Col. Thomas Lincoln Casey, C.E., on work performed and cost of strengthening north wall of Ford's Theatre, October 1878," p. 2. '^ "Sewell Report No. 1," p. 1 1. " See Figure 37 "Plan of Stage of Ford's Theatre," prepared by Lt. Simon P. Currier for Colonel Ingraham, Provost Marshall, General Defences North of Potomac, dated Washington, April 24th, 1865. This report and diagram were used as evidence during the trial of the conspirators in 1865 and the John H. Suratt trial in 1867. Original in N.A. " To substantiate the pertinent findings and conclu- sions of this study, the original depositions and state- ments made by members of the staff of Ford's Theatre shortly after the assassination were collated and evalu- ated. Some of the more significant of these are: John T. Ford (owner), H. Clay Ford (treasurer), James R. Ford (business manager), James J. Gifford (architect and chief carpenter), James L. Maddox (property man), Louis J. Garland (costumer), James Lamb (scenery painter), Joe Simms (fly boy) and John Miles (fly boy), April 1865. Original records in R.G. 153, N.A., J.A.O., L.A.S. file. These materials shed new light upon the published versions of the official trial proceedings and 22 Figure 14. Ford's Theatre from F Street, April 1865. (ILLINOIS STATE HISTORICAL LIBRARY) West wall. The west facade of the structure closely re- sembled that of the Holliday Street Theatre in Baltimore.'^" At the street level were five arched in some cases furnished completely new evidence re- garding the original appearance of Ford's Theatre as of the night of April 14, 1865. Cf. T. B. Peterson & Brothers (eds.). The Trial of the Assassins and Con- spirators (Philadelphia, 1865) ; Benn Pitman (comp.), The Assassination of President Lincoln and the Trial of the Conspirators (New York: Moore, Wilstach & Bald- win, 1865); Ben Parley Poore (ed.). The Conspiracy Trial for the Murder of the President, 3 vols. (Boston: J. E. Tilton and Co., 1865-1866); and Trial of John H. Surratt in the Criminal Court for the District of Columbia, 2 vols. (Washington: G.P.O., 1867), passim. Peterson's is the complete and unabridged edition of the trial proceedings; Pitman, the officially expurgated ac- count. The final volumes are cited hereafter as Surratt Trial. "See Figure 12. doorways. Above the doorways, between six pil- asters, were two rows of five casement windows each surmounted by limestone lintels, providing light and air for the lobbies of the dress and family circles. ^^ According to the original design, the facade was to have been adorned with an elaborate cornice and pediment and surmounted with three groups of statuary.^' The cornice and pediment, however, remained unfinished until 1865, the cornice and pediment lookouts continu- ing to jut out like sawteeth during the compara- tively short life of the theatre.^" The groups of statuai7 never graced the structure. '^'' "Cf. Figures 22, 23 and 39. ™ See Figure 12. "AT. 57. ""See Figures 27 and 29. Lithograph by Schroeder and Landers, Baltimore, 1863. 23 (photo by ABBIE ROWE) Figure 15. Original wooden roof trusses stiil in use, Ford's Theatre, Augiast 1963. 24 Figure i6. Original wooden lookouts, interior view, Ford's Theatre, August 1963. (photo by abbie rowe) The west fagade is approximately 72 feet from foundations to ridge of the roof and 71 feet north to south. These overall dimensions were un- changed by later modifications of the structure.^' One source of contemporary evidence, citing the original width of the foundation of the west wall, is the article in the National Intelligencer, April 27, 1863, reporting on the progress of the con- struction. Since John F. Coyle, this newspaper's editor, was one of the original subscribers to Ford's $500 stock certificates, it may be presumed that he had access to firsthand information regarding the progress and manner of the theatre's construc- tion. The article states that the wall was 32 inches thick. One other reliable figure on the actual thickness of the west wall is given by Addi- tional 2d Lieutenant John S. Sewell, Corps of En- gineers, in his report on the condition of the building, following the collapse of June 9, 1893, and prior to the repair and renovation of the structure under his supervision. Sewell reports: The west (front) wall of the building bulges in, being about 6" out of plumb at the centre, but it is braced against the floor beams, and its thickness is so great, the bulge does not affect its stability. The outer face of the wall is plumb, a new vertical wall having been built outside of the old bulging one, when the building was re- modelled. The two walls are tied together by iron anchors. The front wall is 3'3" thick at the foundations ; at the level of the second floor, it diminishes to about 2'8" (depending on the bulge) and increases in thickness with the bulge, to a point about at the top of the third story. From there up it is two feet thick. "^ Despite contemporary descriptions of the building as being "a substantial brick structure of imposing •" Locraft Plans, Sheet No. 12. ' "Sewell Report No. 1," p. 11. 25 architectural proportions," ^ reference to the 1 865 Brady photograph shows the structure as being unfinished, of rather poor brickwork with an ob- servable bow in the Tenth Street facade and an unfinished cornice and pediment.^* The five arched openings on the first floor level were approximately 6 feet in width by 12 feet in height and varied from 2 feet to 2.5 feet in depth. During the lifetime of the theatre, they were used ' Baltimore Sun, August 25, 1863. ' "Reconstruction Notes," p. 4. as doorways. Four of these doorways opened into the lobby and gave access to the north ticket win- dow, the orchestra and dress circle."^ The fifth door, known as the "gallery door" at the south end of the fagade,"" provided access to the gallery ticket window and stairwell leading to the family circle. On the front wall, south of the gallery door and about 8 feet above the sidewalk, hung a 3-foot white oval sign with black lettering reading "Entrance Family Circle 250." '^'' Two of the original casement windows are still in place in the south bay of the west facade and open on the stairway leading to the second and third floors of the present building. ''* The trim, in addition to the brickwork of the first floor, was painted white, the rest of the theatre wall being left natural red brick.'''* South Wall The south wall of the theatre is 18 inches thick throughout, approximating the dimensions of the north wall."^ From foundations to eaves the south wall is approximately 50 feet in height. It runs east from a point at the intersection of Lots 9 and 10 at Tenth Street for 85 feet, then north 3 feet, and east 22 feet 2 inches joining the rear wall of the theatre.'" In constructing the south wall. Ford left an area of but 5 feet 6 inches by 22 feet of the original 20 x 30 foot public alleyway a't the southeast corner of the theatre.'^ GifFord undoubtedly encroached on both the public alleyway to the rear of the theatre and on part of Lot 9 when he constructed a 4-foot covered (photo by GEORGE OLES) Figure i 7. Old Ford's Theatre Building from F Street, July 4, 1 96 1. " See Figures 22, 23 and 39. "" Statement of H. Clay Ford, April 20, 1865, p. 2, L.A.S. file. " See Figures 39 and 48. Note especially removal of center ventilator hood from roof, Family Circle sign and debris showing on sidewalk. "* Figures 18, 48 and 54. Note: See the Historic American Buildings Survey (H.A.B.S.) drawings of the ARCHITECTURAL DATA, "Notes for the Restora- tion of Ford's Theatre," infra, indicating all historical- architectural information available on the appearance of Ford's Theatre as of April 14, 1865. Since the Super- visory Architect, Region Six, N.P.S., gives a detailed analysis of these drawings, they will not be referred to in the historical section. "' Cf. Figures 14 and 23. " "Sewell Report No. l,"p. 11. ™ Locraft Plans, Sheet No. 2. '^ Ibid. 26 (photo by abbie rowe) Figure i8. West fagade of Old Ford's Theatre Building showing original casement windows in south bay, August 2, 1963. passageway from Tenth Street through the south addition and beyond the 61 foot 8 inch property line to a point about 77 feet from Tenth Street.'^ This passageway gave access (by way of a 3-foot wide door through the south wall) into the theatre at a point just behind the boxes on the south side of the stage." " Interviews, Joseph L. Mudd, Supervisor, Records and Information, O.S., D.C.; Marvin E. Baxter, Chief, Department of Highways and Traffic, D.C. ; and Ed- mund Henderer, Chief District Engineer, Government of the DC, District Building, to Olszewski, May 18, 1961. " Locrajt Plans, op. cit. Testimony of J. L. Debonay, "responsible utility" of Ford's Theatre, Pitman, op. cit., p. 106. In 1863 a door was also installed at about the level of the family circle to provide access from the theatre to the rooms of Harry and Dick Ford on the third floor of the south addi- tion." The location of this door is clearly shown in a 1930 photograph taken during the demo- lition of the south addition. Excavations were made at this time in preparation for the con- struction of the office building of the Potomac ~* National Intelligencer, February 21, 1865. George D. Ford, These Were Actors (New York: Library Pub- lishers, 1955), pp. 306-307. Phone interview, George D. Ford to Olszewski, October 24, 1960. See Figure 20 showing location of former doors, stairway and floor joists of the south addition demolished in 1930. 27 (photos by GEORGE OLES) Figure 19. Architectural exploration of interior Ford's Theatre Building, March 15, 1961; (Upper left) NE corner of basement showing location of former steps down which Booth passed; (upper right) Bricked-in stage door leading to Tenth Street and Star Saloon; (lower left) Inside face of west wall; (lower right) Bricked-in doorway to third floor rooms of south addition. Electric Power Company (PEPCO) on the corner of Tenth and E Streets, Northwest. This excava- tion extended north as far as the south wall of Ford's Theatre making it necessary to shore it up. The excavation revealed the deplorable condition of the construction of the original foundations in 1863 by GifTord. Patrick O'Keefe, Captain of the Guard for the Ford Theatre build- ing, reported the information that had been given to one of his guards by an engineer of the Hyman Construction Company, contractors for the PEPCO Building. O'Keefe's report states: They informed Guard O. D. Dillon that at the bottom of the south wall the foundation is very bad. In describing this foundation the engineers informed Guard Dillon that there is no uni- formity at the bottom of the wall, but instead it is . . . part cement and part brick and in some places a mixture of cement and brick. 28 Figure 20. (Upper) South wall showing scars of former Star Saloon building and bricked-in doorway to lounge. (Lower) Base of south wall during excavation in 1930 for PEPCO building. 29 Figure 21. Contemporary sketch of east or rear wall by A. Berghaus, showing small door through which Booth escaped. Some places the foundation does not extend twenty feet below the surface and any old thing was put in to fill it up.'^ East wall The east wall, with the exception of the 3-foot cutback in the alleyway at the southeast corner, was approximately the same width and height as the west wall, i.e., 67 feet 6 inches north to south and about 78 feet 6 inches from foundations to the ridge of the roofJ" However, the east wall was connected with the rear wall of the north wing giving it a total overall width of 90 feet. The east wall was originally about 18 inches thick up '^ Report of Patrick O'Keefe, Captain of the Guard, Mall Group, Public Buildings and Grounds, to Inspector of the Guard, Subject: "Foundation of Old Ford's Theatre Building," dated Washington, April 23, 1930. Original in file N.C.P. 1100/343 Lincoln Museum (1). See Figures 6 and 20. '" Locraft Plans, Sheet No. 9 ; "Sewell Report No. 1 ," p. 12, to the third floor after which it diminished to 14 inches, then to 9 inches." Toward the north end of the wall on the first floor of the theatre proper, a small stage door opened inward.'* A large stage door, 1 1 feet high by 12 feet wide, to move scenery in and out of the theatre, was in the center of the rear wall and moved on rollers from south to north on an overhead track as shown in the contempo- rary sketch by A. Berghaus.'" Both doors opened on the public alleyway at the rear of the theatre. " "Sewell Report," op. cit. "See Figures 21 and 38. Note particularly scenery door with overhead sliding door track and location of two windows at the level of the theater gridiron. These two windows were removed from the east wall when it was rebuilt in 1894 and they still exist on second and third floors of the south wall near its east end. "Sewell Report No. 2," p. 5. Testimony, Wm, Withers, Jr., orchestra leader, in Peterson, op. cit., p. 121; Joseph B. Stewart, in Pitman, op. cit., p. 79; and "Ex- amination [of Jos. B. Stewart] before Justice A. B. Olin, one of the Justices of the Supreme Court, D.C., April 15, 1865,"p. 3,L.A.S. file. "Figure 21. 30 Figure 22. Contemporary sketch of front of Ford's Theatre by A. Berghaus at time of assassination. Two windows of twelve panes each were in line with the windows of the third story of the north wing.*° North dressing room wing Immediately adjoining the theatre to the north on part of Lot 1 1 was a four-story brick wing entered by a door off the north side of the stage. '^ Two windows were on each floor in the east or rear wall of this building.*- The north wall had a window in the star's dressing room on the first floor and windows on the second and third floor landings of the stairway. Facing west were win- dows, one on each floor of the north wing.*^ The «■ Figure 21. "^ Figure 22. " See Figure 38. See also Figure 21, from Frank Les- lie's Illustrated Weekly, May 13, 1865. '■ See Figure 22, indicating window in the west wall of the north dressing room wing. inner or south wall of the wing formed the north wall of the theatre. Addition to the south The three-story brick addition to the south was constructed in 1863." Its exterior dimensions were approximately 25 feet 5 inches on Tenth Street (north to south) and 51 feet in depth, west to east. The north wall and the theatre's 18 inch south wall were one and the same. The west wall was about 12 inches thick on the second floor and above, and approximately 25 feet six inches north to south and about 41 feet from foundations to eaves. There was no cellar under the structure. ^^ Photos and contemporary sketches of April 1865 show that the facade of the first floor consisted of four sets of glazed and paneled doors of various ' National Intelligencer, Hecevciher 31, 1863. ' See drawings accompanying "Sewell Reports.' 688-440 O— 63- 31 sizes. A single door with eight panels provided access to the 4-foot wide through passageway from Tenth Street to a glass-windowed door on the south side of the stage at the rear of the presiden- tial box.*" The three paneled and glazed double doors provided access to the Star Saloon, a com- bined restaurant and bar on the first floor. Tran- soms were above these doors which were sur- mounted by an overhanging canopy about a foot in depth. Two sets of three windows each appear on the second and third floors. The windows of the second floor had fifteen panes each (the upper sash having six, the lower nine) ; those of the third floor but twelve panes each.*' The south wall of the theatre rose above the Star Saloon building which had a ridge roof sloping east and west. The south wall was about 12 inches in thickness.** The rear wall of the south addition was also 12 inches in thickness and had windows on all three floors.*" Other exterior features A slate shingle roof, sloping to the north and south from a central east-west ridge, covered the theatre."" Appro.ximately equi-distant along the ridge, three large hooded, wooden frame ventila- tors with louvres were set. They also were cov- ' Cf. Figures 22, 23 and 39. ' Ibid. " "Sewell Reports." "' Cf. Figures 22, 23 and 39. " Ibid. Figure 23. Contemporary photograph of Ford's Theatre and Star Saloon building from E Street, April 1865, show- ing original street lamps and mourning crepe. 32 ercd with slate shingles. These ventilators were located over the area of the family circle, the main body of the theatre, and the stage, re- spectively. Ten hatches, five on the north slope and five on the south slope of the roof, provided additional ventilation.^' Undoubtedly, it was these features which caused contemporary ac- counts of the theatre to be so laudatory regarding its good ventilation."- Altogether there were nine chimneys in the entire building: six in the theatre, two in the north wing and one in the south addi- tion. All of the chimneys were located on the exterior walls and emerged from the building near the eaves. These numerous chimneys indicate that there was no central heating in the theatre and that it may have been heated with individual stoves. Interior of Ford's Theatre Without a doubt the interior decor of the theatre was much superior to the unfinished exterior. When it was nearing completion in August 1863, local newspapers and newspaper correspondents in the city extolled its merits. For instance, the Washington Sunday Chronicle reported on Au- gust 23, 1863: Mr. Ford has shown what can be done when capital, skill, and energy are combined. In five short months, contending against unfavorable weather, a scarcity of workmen, and a score of other difficulties, he has erected a substantial theatre which will be an acquisition and an ornament to the city, such as none of us, a year ago, could have expected to see within at least half a generation. In magnitude, com- pleteness, and elegance it has few superiors, even in our largest cities. It is finished in a style that has involved a most lavish expenditure, and that has brought into requisition the first me- chanical and artistic skill. We heartily con- gratulate Mr. Ford on his achievement, and sincerely trust that he will have his recompense in a continuance and increase of the popularity he has always enjoyed, and which we are sure he will spare no efforts to retain. The ventilation of Mr. Ford's new theatre is very perfect. It will seat comfortably an audi- ence of two thousand seven hundred,'^ but the supply of fresh air constantly conveyed through the building will make it as pleasant and health- ful as a drawing room. Besides this, the pro- tection against accident by fire is complete, water in abundance being supplied in every part of the immense building. In fact, every improvement that genius could devise, and skill and wealth achieve, has Mr. Ford brought to his aid in the erection of this magnificent theatre. . . . By contrast, on August 29, 1863, the Washing- ton correspondent of the Baltimore Weekly Sun gave a more detailed description of the general appearance of the interior of the theatre and its seating arrangement. He reported: Mr. Ford's Theatre on 10th Street is close upon completion. It is one of the few buildings of Washington which since the war have been made new from the ground up. It is a monu- ment to individual energy after so great a pecuniary reverse as was suffered by Mr. Ford through the burning of the old theatre in the midst of a flourishing business season. In its exterior it will be, when finished, an imposing structure, while within one is struck by the re- markable appearance of spaciousness and elegance. The parquette is about equally divided be- tween orchestra and other seats, or ranges of chairs, which will comfortably accommodate over six hundred persons. The dress circle also having chairs for seats will accommodate about four hundred. The family circle will also hold several hundred. The seats are so high above those before them that there is no trouble about getting a good view of the stage. Indeed a person standing at any point in the auditorium has that great advantage. There is connected with the dress circle a large saloon or retiring room which is a most excellent feature of the establishment. In all respects the theatre seems to be an improvement upon existing ones of the country. Its locality (a square from the ave- nue), upon higher ground than the latter, is favorable for light, air, and drainage. More- ■" Cf. Figures 22, 23 and 39. " Washington Sunday Chronicle, August 23, 1863. " Most probably this figure is a typographical error as the seating capacity of the theatre was given as 1,700. 33 Figure 24. Contemporary sketch of overall scene in Ford's Theatre, April 14, 1865, by A. Berghaus. over, the surroundings of the building are not of a character to create unpleasant feelings. Although little more than the names is known about the local artisans and subcontractors hired by Ford, the type of work they performed does con- firm certain details of the theatre's construction and interior decor. Undoubtedly much of the work was done by local subcontractors. For instance, George R. Callis subcontracted for the brickwork; Whitney and Company installed the gas fixtures. Charles Stewart did the ornamental plastering; J. K. T. Plant, the paperhanging; Foster and Sommergetz, the molding and gilding; Schutter and Lamb, the fresco work. Holland and Company did the upholstering; Stephens exe- cuted the cabinet furniture. James Maddox, subsequently retained by Ford as theatre property man, designed and executed the ornamental stage properties. Ford brought Charles S. Getz from New York to design and paint the stage scenery.^* Thus, from the above facts we know that molding actually outlined the large interior panels of the " Evening Star, July 29, 1863. Polk's Directory, 1865, passim. 34 theatre (as seen in the Brady photographs) and that it was not merely painted on the walls ; that wallpaper was actually used in the boxes ; and that the intricate design seen on the front of the bal- cony was most probably plaster applique rather than stamped sheet metal as had been believed earlier.'^* Lobby The arched doorways of the west fagade opened directly into the lobby which gave access on its north end to the dress circle by way of a stairway which most probably ran along the west and north walls in traditional fashion.''* Three entrances, opposite doors 2, 3 and 4, counting from the north, gave access to the orchestra and parquet. Clos- ing off the south end of the lobby was the box office."'' The fourth door, the principal entrance for purchasing tickets to the main part of the house, was entered over two risers."' The fifth door pro- vided access to the family circle."* From this point, winding steps most probably went up in a staii-well to the family circle or second balcony."" The lobby was about 30 feet long and widened to about 1 feet at the center from 7 feet at both the north and south ends.'™ The box office at the south end separated the lobby from the entrance to the family circle.'"' The level of the lobby was 75/2 inches lower than the present level of the first floor of the existing structure.'"^ In the lobby, above the center door which led into the theatre, hung a clock about 7 feet above the level of the first floor. i"» ""■ See especially Figures 28 and 30. '"See Figures 25 and 27. »"Cf. ibid., and Figure 44. "See Figure 23. '^ Ibid. ""Cf. Figures 25 and 27. '"' Testimony, James J. Gifford, Surratt Trial, I, 550- 551. "" See Figure 25. "" See Figure 50, "Contract between Richard Dunbar, New York City, and Brevet Major General D. H. Rucker, Quartemaster General War Department, August 4, 1865, for alteration of Ford's Theatre." The final contract was signed on August 17, 1865. Original in R.G. 94, N.A. "" Testimony, Sgt. Joseph M. Dye, in Pitman, op. cit., p. 72. GifTord, op. cit., p. 560. Box office The box office occupied the south end of the lobby between doors 4 and S.'"^ It was also used as the treasurer's office. Tickets were sold from a window facing the main lobby for the orchestra, parquet, dress circle, and boxes. Another window faced east, allowing a view of the interior and stage of the theatre. Family circle tickets were sold exclusively at the gallery ticket window, ap- parendy of the dutch door type, the entrance to which has already been .described. The size of the box office is indicated by the fact that three per- sons customarily worked there at the same time.'"° Orchestra and parquet Access to the orchestra and parquet was con- trolled by an entrance door in the north end of the lobby at the south edge of door No. 2.'"^ This ar- rangement allowed an usher to collect tickets to the dress circle and to the upper private boxes (Nos. 5, 6, 7 and 8). Persons having reserved seats secured in advance could enter by door No. 2 and go direct to their seats in the orchestra, parquet, dress circle and lower and upper private boxes. Theatre-time ticket purchasers usually entered the theatre by door No. 4 at the north window of the box office. During inclement weather, the central door. No. 3, was usually kept closed.'" In addition, draping was used to con- serve the heat of the lobby. Egress from the theatre following performances was by two addi- tional exits from the theatre proper facing doors Nos. 3 and 4."* Theatre tickets were easily identi- fied by the ushers according to color: white for private boxes, orange for 50(t seats and red-purple for 250 seats."^ The color of $1 tickets is un- known. Tickets usually had a facsimile signature on the reverse side, reading "Jas. R. Ford." ^"' Private box tickets had to be secured in advance and were date-stamped to indicate the day on which they were valid."' "" See Figure 25. '"Statement, H. Clay Ford, p. 12, L.A.S. file. "* Gifford, op. cit., p. 558. "" Ibid. «» Ibid. '"See Figures 26 and 41. "' Ibid. "' H. Clay Ford, op. cit. 35 4)^ nil /tan u eln mjnm mtmmy Jit, r.Ard Figure 25. Draftsman's copy of original sketch by Jno. T. Ford, May 1865. (LrBRARY OF CONGRESS) 36 The orchestra and parquet occupied the first floor of the theatre. Its dimensions were approxi- mately 45 feet from lobby entrance to the audience edge of the orchestra pit and 66 feet 6 inches from north to south walls.^" The height of the auditorium was about 49 feet to the central dome. Seating capacity was about 602 and all seats were movable wooden chairs with cane bot- toms.^" The floor of the auditorium descended by low steps to the edge of the parquet circle and only the aisles were probably carpeted.^" The seat rows were arranged on concentric arcs, the center of the arcs, being located on the east and west centerline of the stage.^^^ Orchestra seats were to the front of the theatre and parquet seats to the rear."" The chairs were easily movable so that on special occasions the entire area could be boarded level v.'ith the stage for dancing and other festivities."' Access to the lower tier of boxes was by the north and south aisles of the orchestra."® Half circular niches on aisles to the rear of the parquet may have ac- "- Editorial Note: All measurements for determining the original appearance of Ford's Theatre as of April 14, 1865, have been ascertained as accurately as pos- sible from all known existing original sources, by geo- metrical determination and by recent architectural ex- ploration. Dennin to Olszewski, May 4, 1962. The most significant sources have been the following: Statements of John T. Ford, H. Clay Ford, James J. Gifford, et al, April-May 1865 (L.A.S. file) ; testimony by ibid, during the trial of the conspirators in Peterson, op. cit.. Pitman, op. cit., and the Surratt Trial, passim; the ticket sales plans and seating arrangements, Figures 27, 28 and 29; Exhibit 48, the Lt. Simon P. Currier drawing; various engineering reports with accompanying draw- ings such as the "Dunbar Contract, 1865"; the "Sewell Reports Nos. 1 and 2, 1893-94"; and the Locraft Engineering Drawings, 1955; interviews with all known descendants and relatives of the original owner, and employees of Ford's Theatre, 1865; in addition to numerous original photographs, some of which have been but recently uncovered, accompanying the present His- toric Structures Report, which provided much basic evidence unavailable elsewhere. "^See Figure 27. "' McClure, op. cit., passim. "' See Figure 27. "" See Figures 27, 28 and 30. Note especially varia- tions in types of chairs. '^''National Intelligencer, February 21, 1865. See also Appendix "C". "' See dress circle seat plan, Figure 29. (LINCOLN MUSEUM COLLECTION) FiotjRE 26. Ford Theatre tickets, April 14, 1865. 37 j^Dopr] Doo t r •OOR _ looa j f^&mf ar«*— »• *'r'\ ^al»»»»**"'*"Tiia>W;^!j,j^,5Pjgj^^^ FOKDSNEWJUKATRK »(C. '"" Ford testimony in Pitman, op. cit., p. 102. '^ Ibid. "' Lamb, Simms and Miles in Pitman, op. cit., passim. Ibid., L.A.S. file. "" Gifford and Lamb, L.A.S. file. '" Lamb, op cit. '"Lamb testimony in Pitman, op. cit., p. 106. '"Cf. Figures 21 and 38. "'Of. "Casey Report, 1878"; "Sewell Report No. 1, 1893." "» Locraft Plans, Sheet No. 3. "• See drawings accompanying Sewell, op. cit., and Figure 38 "° See Figures 25 and 44. 688-440 O — 63- 47 Figure 33. Contemporary sketch of passageway to presidential box and closeup of original door to box 7. North wing The north wing was a four-story, L-shaped building, approximately 23 by 48 feet with a central passageway off of which rooms opened to the east and west. Each floor was connected by a narrow stairway.^^^ The stage manager's office occupied the west room on the first floor. The greenroom was on the east.'®^ Rooms on the second and third floors "' Testimony of Louis J. Garland in Pitman, op. cit., pp. 108-9. "° Mario Da Parma of New York City recently donated the original greenroom clock to the Lincoln Museum. It was in the possession of the Harry Clay Ford family, passing on down to Frank Ford, op. cit. See Figure 58. were used as dressing rooms. '''^ The upper and lower floors were connected by a narrow stair- way at the north end of the wing. Although this stairway was just wide enough for the passage of ladies in full dress costumes,^'* it was too nar- row to permit lumber to be carried upstairs to the carpenter shop on the east side of the fourth floor. The wardrobe room occupied the west side.^^^ As already described, a door led from the fourth floor to the theatre fly galleries and the paint bridge. Windows faced west between the wing and the building adjoining Ford's on the north.^'^ Two '" Carland, op. cit. "' Ibid., and Ford, op. cit. '" Carland, op. cit. "* See Figure 22. Note the indication of a window in the west wall. 48 (LrBRARY OF CONGRESS) Figure 34. Closeup of interior of presidential box showing rocker in which Lincoln was shot, sofa, chairs, partition, wall- paper and door to box 7 through which Booth entered. 49 Figure 35. Closeup of stage center by M. Brady, showing part of orchestra pit. (nationai- archives) 50 (library of congress > Figure 36. Contemporary sketch of presidential box and interior of Ford's Theatre, by A. Waud. windows were also installed on each floor of the rear or east wall.'*'' Chimneys were located on the northeast and northwest corners.'"* Gas light- ing was used throughout the north wing and rest rooms most probably occupied convenient locations. South addition The south addition was a three-story brick building built by Ford in 1863 as an extension of his theatre.'"" A combined restaurant and bar, known as Peter Taltavul's "Star Saloon," oc- cupied the first floor. ^°° The second floor, which was used as a cloakroom and lounge of the dress circle, was connected to the theatre by a double doorway. Larger windows on this floor of the building provided additional light and ventilation '" See Figures 2 1 and 38. "* Locraft Plans, Sheet No. 9. "" National Intelligencer, April 18, 1865. """ See Figure 39. Testimony of Peter Taltavul, L.A.S. file. John M. TaltavuU, great grandnephew of the former owner of the Star Saloon is now an employee of N.P.S. for what was considered to be a spacious lounge.^" Rest rooms were most probably at the rear for the convenience of dress circle patrons. Because of the difference in the floor levels of this building and Ford's Theatre, all connecting doors de- scended stepwise to the lower levels of the south addition. H. Clay Ford and James R. Ford oc- cupied rooms on the third floor which they could reach through the door from the lobby of the dress circle or through another doorway at the level of the family circle.-"" An outside stairway pro- vided ready access from the theatre to the rear of the second floor. Finally, a four-foot wide covered passageway ran between the theatre and the Star Saloon and gave the actors quick passage from Tenth Street to the stage door in the south wall of the theatre.-"^ And it was through this passageway that John Wilkes Booth was to pass while on his way to assassinate President Abraham Lincoln on Good Friday, 1865. ^^ Ibid., and National Intelligencer, February 21, 1865. "" See Figure 20. These Were Actors, p. 306. State- ments, Frank Ford and George D. Ford to Olszewski, New York, April 8, 1962. '"' See Figures 25 and 44. 51 ^ p ^^^ , ..4- s 7 ^ it**'^ »*•"- tr (national archives) Figure 37. Original stage plan of Ford's Theatre, drawn by Lt. Simon P. Currier, used during the trial of the Lincoln conspirators. The forestage curves the wrong way in the drawing. 52 PART III— April i4, i86j and Its Aftermath INTRODUCTION Throughout the period of its existence, from August 27, 1863, to the fatal day, April 14, 1865, that was to close its doors as a center of histrionic amusement in the Capital City, Ford's Theatre presented some of the best in theatrical and musi- cal talent that was available on the American stage. According to the final playbill of that night, Ford had staged in the theatre's two seasons 495 nightly performances. Without a doubt much of Ford's success was due to the expense and pains he had incurred in constructing a theatre that was considered, ac- cording to contemporary accounts, to have few, if any, superiors even in the largest cities of the nation. Ford's Theatre had magnitude; it was complete; it had elegance. Its style had brought together the finest mechanical skill and artistic talent. For its size, the ventilation was said to be perfect and the supply of fresh air conveyed through the theatre made it as comfortable as a drawing room, even when playing to a capacity audience. It had complete protection against fire and accident. Ford's operation of his theatre was considered to be superior to that of his lead- ing competitor, Leonard Grover of the National, and Ford's Theatre was the scene of many a bril- liant performance which was graced by the pres- ence of the First Family of the nation. Up to 1865, Lincoln had attended Ford's Thea- tre eight times: five times in 1863, and three times in 1864. Sometimes, the First Lady attended with her own party. In 1863 the President had seen Maggie Mitchell in "Fanchon, the Cricket," on Friday, October 30; John Wilkes Booth in "The Marble Heart," on Monday, November 9; and three performances of his favorite Shakespearean actor, J. H. Hackett, in "Henry IV," on Monday, November 14; the same performance the follow- ing night, November 15; and in "The Merry Wives of Windsor," on Thursday evening, Decem- ber 17, 1863. In 1864, Lincoln attended a per- formance by Edwin Forrest in "King Lear," on Friday, April 8; a Sacred Concert on Sunday, June 19; and a Treasury Ball and Concert on Monday, December 1 9. H. Clay Ford took special pains to decorate the presidential box for these gala performances. John T. Ford usually divided his time between his Holliday Street Theatre in Balti- more and Ford's in Washington. FORD'S THEATRE, APRIL 14, 1865 On April 14, 1865, Washington was enjoying an air of gaiety and excitement reigned throughout the city. The Civil War had ended and many of the 200,000 soldiers visiting the city hoped to catch a glimpse of .their favorite hero. General U. S. Grant, commander of the victorious Union forces. Ford's Theatre was also the scene of anticipation for Lincoln had finally accepted an invitation from Ford to attend the performance that evening. Laura Keene, Harry Hawk, and John Dyott were winding up their two-week engagement at the theatre with Ford's stock company. The play scheduled was to be a benefit for Miss Keene of Tom Taylor's "Our American Cousin." Because of the technical nature of this Historic Structures Report on Ford's Theatre, however, only the barest details will be enumerated of the events of that fatal day to complete its scope. A messenger arrived at the theatre from the White House about 10:30 a.m. to reserve the presidential bo.x for the performance that evening. It was expected that the President would have as his guests General and Mrs. U. S. Grant. James Ford, with the help of H. B. Phillips, an actor of the Ford stock company, wrote the notice that appeared in the Evening Star about 2 : 00 p.m. that afternoon and in the National Intelligencer. New handbills were also ordered printed. When Harry Ford returned from breakfast about 11:30 a.m., James informed him of the President's coming. Because of the rehearsal going on at the time, however, Harry had to wait to decorate the presi- dential box. Later that day the notices and hand- bills had to be changed when it was learned that General Grant would not attend the theatre be- cause of illness in his family. Extra play-bills and handbills, which runners of the theatre passed out on the streets, were printed to attract the atten- tion of military personnel on leave in the city. Sometime that afternoon, between 3:00 and 6:00 p.m., Harry Ford personally decorated the 53 Figure 38. View of rear wall, Ford's Theatre building, at time of collapse of part of interior on June 9, 1893, showing bricked-in scenery and rear stagedoors. 54 Figure 39. Closeup of fagade of Star Saloon and possible location of theatre cornerstone. presidential box because of the illness of Thomas J. Raybold, whose normal duty it was to attend to such matters. Harry Ford placed in the box three velvet-covered armchairs, a velvet-covered sofa, and six cane chairs, all being brought from the greenroom and the stage. "Peanuts" Bur- roughs, the colored boy who was doorman at the stage door to the Tenth Street passageway, brought a walnut rocker from Ford's rooms on the third floor of the Star Saloon building attached to the theatre. Ford also placed two American flags on staffs at each end of the expanded box, draped two more on the velvet-covered balustrade of each box (7 and 8), and at the center post placed a blue Treasury Guards regimental flag. Ford added an additional touch to these normal decorations of the presidential box when he placed a gilt-framed engraving of Washington on its cen- tral pillar for the first time. Edward ("Ned") Spangler, one of the stage hands, moved the par- tition, which usually separated the two boxes, to the east side of the presidential box. Because a triangular corner was formed in box 7 when the partition was removed, the walnut rocker in which the President was to sit was placed there with its rockers pointing west towards the audience. Even though the locks and keepers on the two doors of the passageway behind the boxes had been broken the previous month, no one had taken the trouble to call GifFord's attention to this matter. As head carpenter of the theatre, he was responsible for their condition. Despite all attempts to prove, without success, that the hole in the door to box 7 was bored by Booth that same afternoon, a recent letter from Frank Ford of New York City may clarify this fact. In part, his letter states: As I told you on your visit here in New York, I say again and unequivocally that John Wilkes 55 ^> Tenth sr&E.B.y. abovk b. r i^P ,«IEEK XXXI — NIOffTjlW- - ILB M7IIBIK OF MoflTS, ij r f T. K»tD „ PtOPBIBTOt A?il>»I»H*an ^Uttt* DaUIdBTBt. TtaMO^ BuhJ— f . mai A'*twmij ol Kail-. rui'*-J ...;.,_ _..-—. J- n vifi^ar Friday Evening, April 14 tb, 1865 ' AND Jraf LAST NIGHT" or" ^/Limm I JOHN DTOTT and HARRY HAWK. TOM TAYLOR'S CELEBRATED ECCENTRIC DOMED?, Oim AMVAUCAN ' mm FLORENCE TBEKCHARD MISS L AORA KEENE PATWpTiC SONTG AND CHORUS " 'HOKORTO OCH SOI.I>IIbs." tlATTUIMl ItrJJJi BENEFITof Miss JENNIE GOIIRLAY mm IN^AMS'a (CINCOLN MUSEUM COLLECTION) Figure 40. Final playbill prepared for Lincoln's attend- ance at Ford's Theatre, April 14, 1865. Booth did not bore the hole in the door leading to the box: President Lincoln occupied the night of the assassination, April 14, 1865. . . . The hole was bored by my father, Harry Clay Ford, or rather on his orders, and was bored for the very simple reason it would allow the guard, one Parker, easy opportunity whenever he so desired to look into the box rather than to open the inner door to check on the presidential party. . . } Nevertheless, even if Booth did not personally at- tend to this matter which worked to his advantage in carrying out his nefarious plan, someone familiar with Ford's Theatre did prepare the bar and scoop the plaster out of the wall so that the entrance door to the passageway leading to the presidential box could be secured behind him. ASSASSINATION OF THE PRESIDENT On Tenth Street that evening, Ford's Theatre presented an atmosphere of theatrical gaiety coupled with the religious mystery of Good Friday, 1865. The glimmer in the damp weather of Holy Week of the huge gas lamp standing in front of the theatre at the sidewalk platform was enhanced by the sickly, yellowish flame of black, smoking tar torches stuck in barrels running down the street to Pennsylvania Avenue. At each barrel stood a barker yelling, "This way to Ford's." Inside the theatre, a gala evening was looked forward to and Laura Keene had lent the Fords her personal piano for use that evening for the singing of a special song "Honor to Our Soldiers" composed for the occasion by Wm. Withers, with lyrics written by H. B. Phillips. The song was to be sung by the entire company at the close of "Our American Cousin." While the house was not crowded to capacity at all levels, there was a good sized audi- ence eager to see the President. Because of Lin- coln's anathema to personal bodyguards, "it was not the custom when the President . . . came there to place a sentry at the door or for a man to keep the public peace," this custom was adhered to that ' Letter, Frank Ford to Olszewski, New York, N.Y., April 13, 1962. These views are corroborated by George D. Ford. op. cit. See Figure 62. 56 night. Earlier tljat day, Booth had been seen around the theatre twice. About 8 : 30 p.m., the President and Mrs. Lin- coln, accompanied by Major H. R. Rathbone, the President's military aide, and Miss Clara Harris, his fiancee, the daughter of Senator Ira Harris of New York, entered the theatre through the second door of the lobby. John F. Parker, de- tailed to the White House to guard the President, joined the party at the theatre. John M. Buck- ingham, the doorkeeper and main ticket collec- tor, greeted them as Parker escorted the presi- dential party up the stairs to the dress circle, through its lobby and down the steps along the south wall. Just as they got to the door to en- ter the passageway to their seats, Lincoln paused and bowed to the audience to acknowledge their stormy and enthusiastic greeting. Onstage "Our American Cousin" was going smoothly and Lord Dundreary (E. A. Emerson) was telling Florence Trenchard (Laura Keene) why a dog wags its tail. Withers stopped the orchestra, as soon as he became conscious of the excitement aroused by the President's arrival, and struck up "Hail to the Chief" as stage action was halted, the audi- ence rose, and all eyes were turned toward the President. FORD'S THEATRE. FRIDAY. ORCHESTRA Section. Ford's Theatre-Washington. Reserved Chair— Friday, IN ORCHESTRA! GOOD THIS NIGHT ONLY. %r Give this portion of the Ticket for entrance , to the Door-keeper. fa). M. ^oidj Figure 41. Ticket for reserved orchestra seat, April 14, 1865. 57 4t -^-t Figure 42. Closeup of typical poster of Ford's Theatre, April 1865. 58 Figure 43. Composite Brady photographs of stage setting at time of Lincoln's assassination, Act III, Scene 2, "Our Ameri- can Cousin." While the orchestra played the group entered the presidential box by the east door, the door to box 8. All then acknowledged the audience's wel- come. Mrs. Lincoln then sat in a cane chair next to the President's rocker in box 7 ; Miss Harris sat in the armchair nearest the stage; the President sat in the rocker farthest from the stage where he was barely visible to the audience. Major Rathbone sat on the velvet-covered sofa behind Miss Harris and toward the rear of box 8. One of the arm- chairs and five of the cane chairs remained un- occupied. Although the doors were closed, the locks on all were broken and they could be easily pushed in. Parker, the sole bodyguard permitted by the President, sat outside the entrance door but shortly left his post. The presidential party was thus left unprotected. During the per- formance, the audience occasionally caught glimpses of Lincoln's profile and saw his left hand resting on the flag-draped balustrade. About nine o'clock Booth rode up to the back door of the theatre on his roan mare. He came in the rear door and called for Ned Spangler. Debonay, v/ho shifted scenes on SL, passed the message along. Spangler, who had just shifted a scene into place on SR, went out and Booth entered the theatre, asking Debonay if he could cross the stage. Debonay told Booth he could pass under the stage. He then accompanied the actor down the stairway on SL to the base- ment, crossed under the stage, and came up the stairway on SR. Booth then hurried down the SR passageway and out through the stage door into the Tenth Street passageway. After Booth had passed out the stage door, Spangler called for Peanuts, who was on duty at this point, to come and hold Booth's horse so that he (Spangler) could return to his duties on stage. By this time Booth had entered the Star Saloon and was being served a shot of whiskey by Peter Taltavul. Shortly after ten o'clock. Booth walked into the theatre, checked the time on the lobby clock, walked past Buckingham and mounted the stairs to the dress circle. He paused a few moments to observe the progress of Scene 2 of Act HI on stage, quickly entered the passageway to the presidential box, and secured the door behind him with the previously prepared bar. He shoved it into the hole in the wall to countersink it against the door to avoid interference with his plans. Booth then entered the presidential box by the door to box 7 and because of the darkness was able to move around behind the President without detection and fire the fatal shot. Hearing the report. Major Rathbone leaped to his feet and grappled with the assassin who stabbed him twice. Booth then vaulted over the balustrade of box 7 to the floor of the stage below, tearing a hole in the green baize carpeting which covered the fore- 59 »>w.av« '■ • •• • j " ^ ^ ^ (MARYt_AND HISTORICAL SOCIETY) Figure 44. Original pencil sketch by Jno. T. Ford while in Capital Prison, May 1865. 60 stage. In his jump, the spur on Booth's right foot turned over the picture of Washington and tore the edge of the blue Treasury Guards flag. Al- though the tibia of his right leg was fractured, Booth was able to make good his escape with little trouble by running across stage and down the com- paratively clear passageway on SR. On his way Booth ran into Withers, slashed him twice, and dis- appeared through the rear door, jerking it shut after him. Booth then seized the reins of his horse from Peanuts, knocked him to the ground, jumped astride his horse and made good his escape through the alley to the rear whose exit was on F Street. Inside the theatre a hushed stillness pervaded the atmosphere the moment the enormity of Booth's crime was realized. The silence was reminiscent of that which had overshadowed the earth earlier that day in memory of the death of the Redeemer. AFTERMATH OF LINCOLN'S DEATH President Lincoln's death at 7:22 a.m. the fol- lowing morning in the Petersen House, across the street from Ford's, ended the use of the building as a theatre. Military guards had been immedi- ately posted at the theatre and access to it only permitted by special pass from the Judge Ad- vocate's Office, War Department. For a few days several of the theatre employees were allowed to sleep in their regular rooms in the north wing of the structure and several of the musicians and actors were allowed to remove their personnal possessions. Fortunately, Mathew Brady was per- mitted to photograph the interior of the theatre as it was at the time of the assassination and today his photographs constitute one of the most im- portant documentary sources on the appearance of the interior and exterior of Ford's Theatre as of April 14,1865. Lt. Simon P. Currier of the Judge Advocate's Office was ordered to draw a plan of the stage of Ford's Theatre, establishing precise measure- ments and the location of all stage paraphernalia used that night, in addition to listing all persons associated with the production of OUR AMERI- CAN COUSIN. Minute measurements of the boxes were also made. This plan was sub- sequently used during the trial of the conspirators and identified as "Exhibit No. 48." During the trial which lasted from May to July 1865, mem- bers of the court and jury visited the theatre on occasion to establish the veracity of statements made during the trial proceedings. John T. Ford received official permission to re- open the theatre after the hanging of the con- spirators on July 7, 1865. He advertised that THE OCTOROON, the play which had been scheduled for Saturday night, April 15, 1865, would be given on the evening of July 10, 1865. Ford sold over 200 tickets for the performance. He also received an anonymous letter from an outraged citizen, who threatened to bum the theatre if it should reopen as a place of amuse- ment. As a precautionary measure, the Judge Ad- vocate ordered a troop of soldiers to be stationed at the theatre and to deny admission to all comers. A company of cavalry was also held in readiness on the outskirts of the city in case of emergency. When the theatre opened that night Ford re- funded the purchasers the price paid for their tickets of admission. Despite a fairly large crowd milling in the streets nothing untoward occurred for a placard had been placed on the door read- ing, "Closed by Order of the Secretary of War." This was Ford's last attempt to stage a theatrical performance in the building. Shortly thereafter the theatre was taken over by the government to be converted and remodeled into a three-story of- fice building. Ford was paid $1,500 per month, beginning July 8, 1865, for the lease of his theatre until such time as Congress would appropriate sufficient money to authorize the purchase of the building. In July 1866 Ford was paid $88,000 as a final settlement by the Treasury Department for the purchase of the structure, having already received $12,000 in rentals under the terms of the original lease between Ford and the Office of the Quartermaster General, War Department. Once the building was taken over by the gov- ernment, the Quartermaster General started to convert the theatre into a three-story office build- ing for the use of the government, owing to the shortage of office space in post-war Washington. Richard Dunbar of New York City was awarded the contract, his bid being $28,500. In mid- August 1865 Dunbar began tearing out the interior of the theatre as souvenir hunters went wild. By December of that year, Dunbar had altered the building to such an extent that the Surgeon 61 J1^ Aj--^ f^^- '^^^^T^-^L-.^.*^ /Hr^^W^ ^:t^ ^(^-l^LAaL c^^t^L>-iSfcH^ ci^A^^ <^:^'^^-^ c^r-t/i^ O^ ^oA-i-t-^^-^l^J- „ rr^i . , (MARY1_AND historical SOCIETY) I'iGURE 45. Ihreatening letter received by Ford. 62 General was authorized to take it over for the use of the Army Medical Museum. The building was used for this purpose until 1887 when Congress appropriated funds for the construction of an independent Army Medical Museum at the corner of 7th Street and Independence Avenue, North- west. From 1866 to 1887 only the third floor had been used by the Medical Museum. The Office of Records and Pensions, the Adjutant General's Office, used the first and second floors of the remodeled theatre building, which became known as "Old Ford's Theatre Building," to compile the official pension records of veterans of the Civil War. When the Surgeon General vacated the building in 1887, the Adjutant General took over the entire structure. Tragedy struck the theatre building once again on June 9, 1893, when a 40-foot section of the front of the building collapsed from the third floor hurl- ing men, desks, and heavy file cases into the cellar, killing 22 government employees and injuring 65 others. The cause was not only due to overload- ing the floor but also to the negligence of a build- ing contractor, George W. Dant, who was excavat- ing under the pillars in the cellar improperly and without sufficient shoring to support the floors. Following congressional investigation of the trag- edy, the building's career as an office structure was ended with but minor activities being allowed in it thereafter. From 1893 to 1931 the building served as a publications depot for the Adjutant General. In 1931, Old Ford's Theatre Building was turned over to the Department of the Interior and in 1932 the Lincoln Museum was opened on the first floor, the upper stories being used for small office forces. The north wing and south addition had been used during this period as subsidiary offices, the latter serving mainly as a recruiting station of the War Department during World War I and for some time thereafter. In 1930 the south addition was demolished and today the land on which the building stood (part of lot 9) serves as a parking area for staff members of the Lincoln Museum and the Branch of History, National Capital Region, National Park Service. From time to time throughout the foregoing period various modifications were made in the building, particularly after the collapse in 1893. The most important of these modifications which actually changed the structure from its original dimensions and appearance was the raising of the first ffoor 7/2 inches from its original base; the strengthening of the north wall in 1878; the com- plete rebuilding of the east wall by the Corps of Engineers in 1894, and the installation of larger windows with ventilators on the second and third floors of the west fagade. The appearance of the east wall, for instance, was completely changed from its original design. The large scenery door and the small door through which Booth had es- caped were not reinstalled when the east wall was rebuilt. Fortunately, sketches which appeared in Harpers's Illustrated Weekly and Frank Leslie's Illustrated Newspaper in May 1865, and deposi- tions of Ford's Theatre employees have enabled the Architectural Branch, Region VI, National Park Service, to definitely reestablish the appear- ance of the east or rear wall as it was in the original theatre. The removal of the large ven- tilators from the roof, the installation of the sky- light and smaller ventilators; the finishing off of the cornice and the installation of a ventilating window in its center; and the enlarging of the four windows on the second and third floors of the building have all been verified from the various reports of the occupants of the building and the reports and drawings of the Quartermaster Gen- eral and the Corps of Engineers who actually carried out the work of remodeling the structure. The photos, the most important of which are in- cluded in the present report, identify these changes and authenticate current observations. With respect to the interior furnishings of the theatre, the Quartermaster General removed 988 chairs which were presumably used in government offices. Despite an extensive investigation to ob- tain samples of these chairs, no trace of them has been found. One report stated that three of the chairs were in use in the Supervisor's Office of the Culpeper National Cemetery, at Culpeper, Vir- ginia. Investigation, however, revealed that they had been disposed of when new furniture was purchased. In 1866 Ford was authorized by the Quarter- master General to remove the posts which sup- ported the dress circle and family circle, the proscenium, and undoubtedly other miscellaneous materials which could not be used by the gov- 688^40 o — OS- es tw Jtrti's M'UclL'vil ttrwJvxA «.cL vu Hu, J)cu.tt JChni^J TcrtL C.(nvvr(LAAS_v c| tiu Oiit S/i\v.i.\.v.«.i (Vw (X^*t (VwoXirtva o-cu^vllvwoJL (LJvj'Vt«B[vvivcLvu tAAitC (OtrU/wfttA oil Ukl P tVSAAvfVwc/nX |ivTfu, fUtaJ 1 )jo* V cocJvsAvst* (UvKri-vMi JrhuX/j . '360 U»iw ^\ Xd^ \U^5 a>^cL SLOctuvA J l^^i(ow.ci. \^^(liy> U cUJ^M-«^L jvw, Figure 46. Final Treasury settlement for purchase of Ford's Theatre, July 21, i866. 64 \\ *frr r /f-^n // /V?:.,.y: j/ J^ fj /f f fy* f,'f f^ ^ (T/^/ ff^f f A ^^f/4' /li^rTf ,^/rffr A^y^ A ^ ^^y , 'lie • ftrre-f f/ ^rr r ^^ f r f*' ^t r t K-^ i^r, 'ryf r f-f f -rz-.'^r c /rr/rf . t' /rr ^ ft /fr f Of f I ry /'/tt y'r. r-^r X / /rrr /, ^r^ r r r r t C*^ t^^. ^/' rr ^ r / rr^r^r-rv r-i ^ rr'/ f,"/yr rr re /rr^ ///'ty /e r// ^e-^n't^-Cty*,^ 'jjtr--/t.C' ce--^,// e 't.^^' Ce-1^,// ef/ A^^A. A^ rsr e^ tCe,*-^ rrt yCrr-rr/ r,- ,rr ' .'/ffrt t ^/frrr rrr/, //,^Vrr/ ./i^r,/: Figure 47. Proposal of Architect of Capitol for alteration of Ford's Theatre, July 27, 1865. ernment. Most probably Ford used these materials when he constructed his new Ford's Theatre also known as "Ford's Grand Opera House," in Balti- more, Maryland, in 1871. Although several trips have been made to this theatre and the records of the Ford Family Papers intensively researched, no evidence has been uncovered as to the actual use of these materials from his Washington theatre. However, according to an interview with George D. Ford, at the Lambs Club, New York City, on April 8, 1962, the remodeling of Ford's in Balti- more over the years resulted in any materials of such age being replaced by more modern and fireproof devices. With the Baltimore Ford's Theatre scheduled for demolition, the possibility of recovering any of the original stage para- phernalia or apparatus used in the original Ford's Theatre, Washington, has now vanished. Never- theless, under present plans and with the comple- tion of the historical report and the architectural drawings, there can be little doubt that the pres- ent building can be restored to the original ap- pearance of Ford's Theatre as of the night of April 14, 1865. 65 (LINCOLN NATIONAL LIFE FOUNDATION) Figure 48. Early phase of remodeling Ford's Theatre by Richard Dunbar, c. September 1865. 66 ARCHITECTURAL DATA Prepared Under the Technical Supervision of Charles W. Lessig Chief, Division of Architecture National Capital Office Design and Construction by William A. Dennin Supervisory Architect National Capital Region JL_ Oi s ^ — H -J o < o u O 3^ ^ c;:) — < i- C/3 (n Q r- TT Q O Oi O 3C j_ $ 1 1 1 II :| \^^ 1 1 1 1 HV i t * i lip ... 1 1 l:^ k \- ■ -HI- -^^•> ^ > I/I ^J < o o _I § 68 ARCHITECTURAL DATA Notes for the Restoration of Ford's Theater INSTRUMENT CONTROL The levels and transit lines established by the Bernard F. Locraft Engineering Report of 1955 are used consistently as a reference to locate fea- tures of the existing structure which are to be retained in the restored theatre. The use of these reference lines is considered necessary because in this building, as in many historic structures, the walls are not plumb, the corners are not square, and the floors and ceilings are not level. The datum used for the restoration drawings is 7/2 inches below the existing first floor level at the center of doorway No. 5 on Tenth Street.^ BASEMENT PLAN The conjectural basement plan is shown partly excavated and partly unexcavated. It is known that the understage area of the theatre was ex- cavated because there are several references to ' "Specifications for the alteration of Ford's Theatre into a Fire Proof Depository for Public Records," in Chief Quartermaster's Office, Depot of Washington, DC, August 4th, 1865, by D. H. Rucker, Brevet Major General and Quartermaster. The specifications of this contract stated that the level of the first floor was to be raised seven and one-half inches above the then existing floor level. This floor level is now in existence and known to be at elevation 29.80'. The datum used for the restoration of Ford's Theatre will be elevation 29.80' — .62' or 29.18'. The 29.80' elevation was determined by the engineering firm of Bernard F. Locraft based on datum supplied in 1955 by the D.C. Highway De- partment. people passing under the stage. ^ On an 1865 sketch plan, for instance, bearing the name of "Jno. T. Ford," stairways are shown in the north- east and southeast corners of the building, de- scending to the basement.' The finished sketch plan was probably drawn by a draftsman from a cruder pencilled sketch actually "drawn from memory" by John T. Ford when he was held in Capitol Prison during April and May 1865.'' The completed sketch shows some degree of skill in the draftsmanship and lettering. The front of the stage and the front of the orchestra pit probably were constructed of ma- sonary to act as retaining walls to hold back the ^George S. Bryan, The Great American Myth (New York: Carrick & Evans, Inc., 1940), p. 174. Testimony given at the trial of the conspirators states, according to Bryan, "Opening behind the rear door (alley door of the theatre) a covered stairway led to the region below stage. De Bonay went down these stairs, crossed under the stage to the O. P. (Opposite prompter) side .... De Bonay followed Booth under the stage and up on the other side; Booth then going out of the stage en- trance, through the alley (passage) and into Taltavul's Saloon." •'' See Figure 25. John T. Ford drew the original sketch in prison some time during April and May 1865. The original sketch is in the Ford Family Papers, Mary- land Historical Society, Baltimore, Md., and cited here- after as "Ford Sketch." The diagrammatic plan was probably drawn by a draftsman from the foregoing copy. Originial draftsman's sketch with Ewing Papers, MSS Division, L.C., and reproduced in Information Bulletin, Library of Congress, 19, No. 43 (October 24, I960), 611. ' Ibid. 69 ; '^ CHIE? QTTAKTETlMAgTER'3 OPPICB, Depot OF Washington. * Washingtun, D. C, Aucnst 4, 1865. T>ROPOSALS FOK CONVERTING FORD^S Jt THEATER IiNTO A FIRE-PKOOF BUILDING.— SEALED raOPOSALS will be received at this office until THl^tlsSDAY, Aiujiist 17, 1865, at 12 o'clock ra., for couverting Ford's Theater, in this city, into a fire-proof building. Ti)e biiildinfif will be divided into three stories, with cast iron posts, wrought iron beama, L^hoeuLxville inako, and brick archas and floors. The flooring to bo laid in cement. Plane and specificbtions can be seen ou and after August 6, 18G5, at the oflice of Captain J. H, Crowell, A. Q^ M., cor- ner of Eighteenth and G-ste., in this city. The proposals sliould state the siiin asked for making the re- quired alteration, in accordance with the plans and apecifica- tions, and the time at which the work will be completed. Time of completion will be taken into conaidaratiou in award- ing the contract. A bond in the sum of tea thousand dollars, signed by the contractor and two sureties, will be required for the faithful performance of the contiact, bothaK to the quality of the work and materials, and tiie time of its completion. The responsibility of the sureties must be certified to by a United States District Attorney, to the eft'ect that they are, iadividuidly, worth over and above their dabts and liabilities, the amount of the r<'qiurod bond, j Propo£:*!8 should be nddressod to the tmdJiraJm-'^d, and in- dorQ-d, 'PROPOSALS FO|l CONVERTlJSG FORD'S 1 TiiEATEillNTO A FIKE-PIIOQF BUILDING." I D. H. RUCKER, I Brevet Major-G«n. and Chief Quartermaster. Depot ol Waahington. NATIONAL archives) Figure 49. Public advertisement for submitting bids to remodel Ford's Theatre, August 4, 1865. 70 A- vfliirt Ojuartfrmastfr's (Office. Depot of Washmgton. D C Aiiifii^i nil. I— ««.-. V/'AI 7//'' I /7'/.V.V /;.;'/.. rf/.r.l(,V.„ ./I'.ilcl.^ TllK.lTKK /.!'»" K" /',■■.•.(/'■,"•■'""//'■■■ ''""■ '' 11 K N Kll A I. I) KSr It I I'T lOS, TIr' tmihliiig Iti hi' ilivi.Ii-.i into (lir<.' ^^u^i«.', witli a frtiiiiw-iv niiiliiiiL' Inn- lii-' ' • "lii.! II Tli' hi-' Itwr tfi \tv ".'. iiichfH itlmvp Oio j.r'-M-'Ut d'lor kiIIh; rlic swoimI, 14 fn-i :! ii»-Ii. lliiril. in fic'l !l iiirli.-r liifli. frnni fl'xr f" II.K.t l: II I r N u n I: Is Till' flr-r llw.r in I..- ^uI.lr•.^U1l li.v '.1 iii.-li ar* iln-ln- wiilr. r. iiii-li- - 1h-Iiiw lliL- Mirfaci! ofrt-Ilar- Wln-rr- till- gr<>uii9 to Ih^ fiUi-il in with ?(>IiJ iiia-oDrv- (tm.- Iar;i'- i-liiiiiiu-y. to \ii: liuiit a» iinlit-ati-.l in [.Inn- with n- W ^iml liapl hrii-kic- Thi- ].ii-r» anil an-ln- I.. U lai.l in ■ ■ in- in. ami till- ivall» in r.-iniiit moimr 'Hi.- li.wi-i- i,c.iii..n i.f «ll tin- ari-lji" to 1«- cluaui-.l ..I! an. I i«.iiil. .1 n|, Hu-li- win i. ihr fcntiTM an- takf-n ilown I I; II .S W II II K Tho (■.■■■iinil .mil lliinl (!'ii»r> n. I.'- Mi]il.'.rt..il l.y i-ii-t ir'.n n.luniu- an-i r-i-mj-'lii imL- ^ir-i.'- jn-1 1.- ..in- ..- (.irr .Iniwingjt. Thi- rolunm- for tin- first st..rj liiu.-t la- i.al.al.li.- of -n-tainin/ ililily a w.iglil ..f (II», .«ir liumlroil nn.l oiglitfi-n Ions, an.l tin- st-con'l .story i-olunins fRtlj -ixfy t'.ns- (-Vl ir..n |.latc-», i inchi-s tliii.k liy 1 foot s inchi-s wiuarc. to la plat-cl utnl. r tin- |..«.-i .-olunin-. an.l .a-i iron jilatf-s, 1 f.iot -1 inches S"iuurc Ijy 1 i inclK-s thick, under tbc Mi.-'juil -tory coluinn-- I'h.j (;inlir» lo bo luado of two [.iuci-- of 12 inoh i'mUr flau(.o.-.l rolh-il ir..n, w.-ighinf 4:! |.i.ijii.l- |«-r lin.nl fool, each l«ir. To In: well IjoltcJ together, with iron l.l.r k- l..lweeu: whijc the gipler- mi-et. ih.- .fii.l- t.. Im fu«teiie-.l l»y straps on lioth sitle-i*, well ln.lt-.-il The wrought iron l»fa!ii» to h.- II iiich.js wi.lc. ilonlilc llaligcl. weiglnnj :)" |..iiii,.l- n. Ihi- lim-al f.s.T ; i.. I»- tieil together hy haps. I inch hy 4 Incli, liookt'il at the emls Two r..w-s of these hiils* tej each length of heain- The Iji-anis. at the oj^-ning- ii nt.r -.f tioi.r-. t.. I.. fastene'I t'tgetherhy means of roils, running tlirougli with sei--ws ami nuts on tie- e-ml- A neat unil strong iron stairway, -I fe.-t ti inches going, with railing to l.'a.l fcni tir-t lo tl.ir.l -t-.ry. ami a -iillal.le railing arouml ..p.-ning in the ceiiler of seconil and thirj story floors, and around well hole- of -lair- Th.- so', ,.c « /?..; ,...y^ y/C /'././ //C ^/.:y jy„y ......y....y^ y< /,.:./ ,./(,,^ //.J wy,^ ..-..^ /./..y.^ , y/./ y^ ..-.yy ,:. y....y..., /,, y,,„«>.i, yX^/ y/^, Z...^: yifiytttt /v /v// ..«-/'« *«'.£. t'tieZt^ , fi-y y„^^v ,y, .„-yj( /,.,A-^ ^...y,/ y/,yy< ,y y/f,y-y^ ,..,//^j ,..^/,^, „y ..-X.;/ /iy^.„, i'/. ^.-^yy.^vsy/, ^„ K„yy ^^y, j,y r.. /^^y/i y/, -/V „..y ,.,... -/. y^ y....^.,y y/. .... ' -- ' ..y.r y/ /.«....,. y/, ^/y, j/, ^ W„y yyf.y /C y.^y^.,y/„ y^y /jyty,fy>,',^ ^,,y y>t,,^t ,:. .....y^/..., .yZ,,i,, y/C..., //C y(,ejj,j' /..^y^ y'y/, ^y,y „„^/ /■„./;/ K . v/r/, .,^y yi.y',.^, /. ^yy,,. y., ^yy/.j/..^./,y^./ ,/ /. y/:: •■■■/'■ ..y.../..r/..y^ y..., ,^.,y ^..X /^y.,^ y yf'.y..„.^ ry„../f- ^ yy^.y.,y.icyeriod which describe methods of locating sightlines and establishing theatre floor slopes."" Measurements taken at Thalian Hall in Wilmington, N.C. and at the Ford Theatre in Baltimore were also useful in pro- viding good comparative dimensions on which to base a fairly reliable orchestra and parcjuet circle profile."" The orchestra pit which is seen on 1865 photo- graphs '" and sketches made after the assassina- ™See n. 1. ^°"See n. S. "^ Ibid. "° W. J. Ferguson, / Saw Booth Shoot Lincoln (Bos- ton: Houghton Mifflin Co., 1930), pp. 9, 16. ™ W. H. Berkmire, American Theatres (New York, 1896),/)a«im. ""See n. 39. "^See n. 5. tion show the plan of the orchestra pit in its en- tirety. After having determined the stage and parquet circle elevation, it was possible to es- tablish the orchestra pit floor elevation in relation to the level of the floor of the orchestra. Suitable sightlines were thus established by which the or- chestra conductor could lead the singers on stage and the musicians in the orchestra pit without ob- structing the view of the audience. Access to the orchestra pit from the basement through doors in the face of the understage wall is typical arrange- ment with most theatres. Similar means of access was used in Ford's Theatre in Baltimore and Thalian Hall in Wilmington. A number of 1865 photographs of the presi- dential box have been used to aid in replanning this portion of the theatre. These photographs were also used to help determine the height of the dress circle (first balcony) and the family circle (second balcony). The relationship between the height of the arch- ways on the inside of the Tenth Street wall di- rectly determined to a certain extent the elevations of the dress circle and indirectly the height of the family circle above. After determining the high- est and lowest step on which the upper and lower balcony seats were located, the height of the in- termediate steps was determined by regular pro- gression. The lines of sight to the stage from the audience for the entire theatre was established by relating this information to the balcony slope. The curvature of the dress circle at the railing rises by gradual incline from the outside walls to the high point on the centerline of the the- atre. The placement of the columns and girders supporting both balconies can be seen in the 1865 photographs. These photographs also show the wooden benches of the family circle. The high backs on the rear rows indicate that space for standing room may have been behind them. The ceiling above the auditorium features the flat dome previously described under the "Reflected Ceiling Plan." DETAILED DRAWINGS The details are largely self-explanatory. Any details shown on the drawings which are not documented are conjectural and judgment was used to design them in the taste of the period. 93 2 Q uJ X O 2 r o z < z o 1- u w <0 (0 IQ O a: u si* S ° i: Oi O 5S si 94 z J oi \A 2 uJ O D U X H 2 O H O to < s D H O s ■ it I " c Is! p5^ a: o 155 is \\ if 95 688-^40 O— 63- 96 "as It- l 9 1 ^^ o 97 ' .•ra-j ** ^» r* .«MV »* .WW- .z« -Wa-.' " .*»*■ 5 ^ 1 1 » 3 1 "^ W^ .O'U. .flfp 9 ^ .K^ 2 O n w D O in < 98 y > 3 11 n H U > X a < 99 Figure 55. (Upper) Contemporary painting by Chas. Gulager and (lower) sketch by A. Berghaus of interior of presidential box at time of assassination. 100 FURNISHINGS AND EXHIBITION DATA EXTENT OF HISTORICAL FURNISHINGS OF FORD'S THEATRE The restored theatre will be refurnished as com- pletely and as accurately as the evidence provided by completed historical and architectural research indicates. Among the more important references which will enable such a plan to be carried out are the following: Brady and other photographs, sketches and drawings made shortly after April 14, 1865; newspaper articles; official reports, in- cluding trial testimony and the depositions made by the employees of the theatre; and samples of drapery, curtain materials and wallpaper now in the Lincoln Museum collections. In addi- tion are the large sofa, engraving of Washington, and flags which embellished the President's box. Taken in chronological order, the following fur- nishings and materials will be required aside from anything purchased specifically for the restoration of the structure : ( 1 ) For the lobby, one ( 1 ) wall clock. (2) For the ticket office: four (4) chairs, work- ing tables or desks for the ticket sellers, and one ( 1 ) treasurer's desk. ( 3 ) For seating, approximately 1 ,074 individual cane-bottomed chairs will be required: 602 in the orchestra and parquet; 422 in the dress circle, and from 48 to 80 for the eight boxes which ac- FiGURE 56. Original Treasury Guards flag, Washington en- graving and sofa from presiden- ■ tial box on exhibit in Lincoln | Museum. Tia333aa2dI7 / (photo by GEORGE OLEs) 101 n '^^^^^^1 Figure 57. Rocker in which Lincoki was shot. 102 (photo by GEORGE OLES) Figure 58. Original French clock from greenroom of Ford's Theatre, 1865. commodated from six (6) to ten (10) persons each. High-backed benches were used in the family circle to seat approximately 676 persons. Thus this total figure of 1,700 for the theatre's seating capacity, aside from the boxes, is based on the statement of John T. Ford published in the Washington Post of June 11, 1893, and the un- published doctoral dissertation of John Ford Sollers referred to in the main body of this report. This figure of 1,700 appears to be more realistic than contemporary newspaper accounts of 1865 which stated the seating capacity to be between 2,000 and 3,000 persons. In addition the seating capacity of the orchestra, parquet and dress circle has been verified by actual count of the scats shown on the diagrammatic ticket sales charts shown in the present report as Figures 27 and 29. Further- more, the photos included in the same section in- dicate clearly the variations in the design of the different types of chairs used throughout the thea- tre. Figures 28 and 31 also give the architects sufficient data to design the type of wooden benches used in the family circle. The special furniture for the President's box should include the crimson velvet covered sofa (now in the possession of the Lincoln Museum), the walnut rocker in which the President sat (now owned by the Henry Ford Museum and Green- field Village, Dearborn, Michigan), and two ad- ditional crimson velvet covered heavy straight backed chairs whose design is clearly shown in Fig- ure 31. Embellishments for the historic repre- sentation of the final scene should include the Washington engraving, the original blue Treas- 103 ury Department flag (both of which are in the Lincoln Museum collection), and four American flags, two on staffs to decorate the sides of the box and two arranged as bunting on the railings as shown in Figure 34. The style and design of the yellow satin draperies and Nottingham lace cur- tains which completed the exterior decor of the President's box, and of the figured crimson wall- paper on the interior, can be easily verified from the composite Brady photo (Figure 43) of the entire stage. Samples of these materials are also on deposit in the Lincoln Museum. It is also rea- sonable to assume that the draperies, curtains and wallpaper of the other boxes were similar in color, style and design to that of the President's box. Furthermore, Turkish carpeting most probably covered the floors of all the boxes. A movable partition, 3 inches in thickness and seven feet in height, covered with the same figured wallpaper as appears on the walls of the boxes, should be included in boxes 7 and 8. This partition is clearly shown in the background of Figure 34. Although it would seem reasonable to presume that carpeting was used on the aisles of the ground floor in the orchestra and parquet and the aisles of the dress circle and its lobby, no evidence has been uncovered to support this view. The fore- stage beneath the proscenium was carpeted, how- ever, since contemporary accounts indicate that it was torn when the assassin jumped to the stage from the President's box. PROVISION FOR DRAFTING A FURNISHING PLAN A tentative furnishing plan based on the in- formation derived from contemporary sources as indicated above will be drafted upon completion of the architectural drawings. Precise measure- ments for locating and placing chairs throughout the theatre have been established by the Architec- tural Branch, Region VI, National Park Service, and will be used when required. The original sofa on which the occupants of the President's box sat is in the custody of the Lincoln Museum. A pre- cise drawing of the walnut rocking chair in which the President sat can be made from the original in case the chair is not donated to the restored theatre. It is also proposed that all stage equip- ment in addition to the gridiron and other stage paraphernilia and apparatus such as ropes, belays, etc., will be incorporated in the structure accord- ing to the best information available from theatres of the period. PROPOSED FINANCING OF REFURNISHINGS It is proposed that the financing of the refur- nishing of the theatre as it existed on the night of April 14, 1865, be derived from a portion of the funds to be appropriated for the full restoration of the structure, the funds for which should include cost of construction, equipment, and furnishings. 104 APPENDIX A— Lincoln at Ford's Theatre^ DATE PRODUCTION LEADING ACTORS 28 May, Sun. 30 Oct., Fri. 9 Nov., Mon. 14 Nov., Mon. 15 Nov., Tues. 17 Dec, Thurs. 8 Apr., Fri. 19 June, Sun. 19 Dec, Mon. 14 Apr., Good Friday Musical Concert Ford's Alheneum 7862 Ford's Theatre 1863 "Fanchon, the Cricket" "The Marble Heart" "Henry IV" Same "The Merry Wives of Windsor" 1864 "King Lear" Sacred Concert Treasury Ball and Concert 1865 'Our American Cousin" ASSASSINATION Clara Louise Kellogg Maggie Mitchell JOHN WILKES BOOTH J. W. Hackett Same Same Edwin Forrest Harry Hawk Laura Keene ' Lincoln attended performances at Ford's Theatre on the dates shown. Miers, op. cit.. Vol. Ill, passim. FORD'S NEW theatrk: Tenth Street, near E. John T. Ford Proprietor and Manager. (Also of HoUiday street Theatre, Baltimore.) Farewell benefit and last niRht but one of MISS MAOGIE MITCHELL. FRIDAY EVKNING, OCTOBER 30, For the Farewf U C'nmpliinentarv B'uefit ot Miaa Mnggie Mitchell will be prtseuted fur \.h^ tiii»l tiu.e th« exiiUi- site douiestic drama in r. acta, entiiled F A N C H O N, /Ae Cricl.ft. FanrlioM Misj Miigj^'ie Mitchell To-it)orr cot as— It No eitra ohnrge lor reserved seats. « (library of congress) Figure 59. Program of Maggie Mitchell night Lincoln attended Ford's Theatre. 105 FORD'S NEW THEATRE. Tenth Streety near E, John T. Ford Proprietor and Manager. (Also of HoUiday street Theatre, Baltimore.) MONDAY EVENING, NOVEMBER 9, 1863. Last Week of MR. J. WILKES BOOTH, And Messrs. CHA8. WHEATLEIGH, HARRY PEARSON, G. F. DE VERB, AND THE GRAND COMBINATION COMPANY. THE MARBL.E HEART. Phidias.. ? Hjy J wiites Booth. Duchalet S Su Margeau \ -.^^-Mr. Harry Pearson. ON TUESDAY— HAMLET. ADMISSION: Dress Circle 50 cents I Orchestra Chairs ... -75 cents Family Circle 25 cents I Private Boxes - - . -$10 and $6 Box Sheet now open, where seats can be secured without extra charge. nov 4 — (library of congress) Figure 6o. Program of John Wilkes Booth night Lincoln attended Ford's Theatre. 106 APPENDIX B— List of Productions at Ford's Theatre^ DATE (August 1863 to April 1865) PRODUCTION LEADING ACTORS 1863 27 Au^., Thurs. "The Naiad Queen" Mr. and Mrs. C. B. Bishop 28 Aug., Fri. Same Same 29 Aug., Sat. Same Same 30 Aug., Sun. Closed 31 Aug., Mon. "The Naiad Queen" Mr. and Mrs. C. B. Bishop 1 Sept., Tues. Same Same 2 Sept., Wed. Same Same 3 Sept., Thurs. Same Same 4 Sept., Fri. Same Same 5 Sept., Sat. Same Same 6 Sept., Sun. Closed 7 Sept., Mon. "The Naiad Queen" Mr. and Mrs. C. B. Bishop 8 Sept., Tues. Same Same 9 Sept., Wed. Same Same 10 Sept., Thurs. Same Same 11 Sept., Fri. Same Same 12 Sept., Sat. Same Same 13 Sept., Sun. Closed 14 Sept., Mon. "The Naiad Queen" and "The DeUcate Mr. and Mrs. C. B. Bishop Ground" Charles Wheatleigh 15 Sept., Tues. Same Same 16 Sept., Wed. "The Naiad Queen" and "A Morn ng Call" Same 17 Sept., Thurs. Same Same 18 Sept., Fri. "The Naiad Queen" and "A Model of a Same Wife" 19 Sept., Sat. Same Same 20 Sept., Sun. Closed 21 Sept., Mon. "The Little Barefoot" Maggie Mitchell 22 Sept., Tues. Same Same 23 Sept., Wed. Same Same 24 Sept., Thurs. Same Same 25 Sept., Fri. Same Same 26 Sept., Sat. Same Same 27 Sept., Sun. Closed 28 Sept., Mon "Fanchon the Cricket" Maggie Mitchell 29 Sept., Tues. Same Same 30 Sept., Wed. Same Same 1 Oct., Thurs. Same Same 2 Oct., Fri. Same Same 3 Oct., Sat. Same Same 4 Oct., Sun. Closed 5 Oct., Mon. "Fanchon the Cricket" Maggie Mitchell 6 Oct., Tues. Same Same 7 Oct., Wed. "Satan in Paris" Same 8 Oct., Thurs. "Satan in Paris" and "My Precious Betsy" Maggie Mitchell Mr. and Mrs. C. B. Bishop 1 Evening Star, August 1863 to April 1865. early edition of paper on day of play. Theatre advertisements generally appeared in previous day's paper or in 107 w 108 DATE PRODUCTION LEADING ACTORS 9 Oct., Fri. 10 Oct., Sat. 11 Oct., Sun. 12 Oct., Mon. 13 Oct., Tues. 14 Oct., Wed. 15 Oct., Thurs. 16 Oct., Fri. 17 Oct., Sat. 18 Oct., Sun. 19 Oct., Mon. 20 Oct., Tues. 21 Oct., Wed. 22 Oct., Thurs., 23 Oct., Fri. 24 Oct., Sat. 25 Oct., Sun. 26 Oct., Mon. 27 Oct., Tues. 28 Oct. Wed. 29 Oct., Thurs. 30 Oct., Fri. 31 Oct., Sat. 1 Nov. , Sun. 2 Nov. , Mon. 3 Nov. , Tues. 4 Nov. , Wed. 5 Nov. , Thurs. 6 Nov. ,Fri. 7 Nov. , Sat. 8 Nov. , Sun. 9 Nov. , Mon. 10 Nov. , Tues. 11 Nov. , Wed. 12 Nov. , Thurs. 1 3 Nov. , Fri. 14 Nov. ,• Sat. 15 Nov. , Sun. 16 Nov. , Mon. 17 Nov. , Tues. 18 Nov. , Wed. "Katy O'Shiel" and "The Pet of the Petti- coats" Same Closed "Fanchon the Cricket" "Margot, the Poultry Dealer," "The Four Sisters" and "My Precious Betsy" "The Bonnie Fishwife" and "The Little Treasure" "The Pet of the Petticoats" and "Margot, the Poultry Dealer" "The Little Barefoot" and "The Four Sis- ters" "The Little Barefoot" and "Toodles" Closed "The Pearl of Savoy, or A Mother's Prayer" Same Same Same Same Same Closed "The Pearl of Savoy, or A Mother's Prayer" "The Little Barefoot" and "The Little Sentinel" "The Wept of the Wish-Ton-Wish" and "Margot, the Poultry Dealer" "The Pearl of Savoy, or A Mother's Prayer" "Fanchon the Cricket" Same Closed "Richard III" "The Apostate" and "Family Jars" "The Robbers, or The Forest of Bohemia," concluding with a Comedy Farce "A Lady of Lyons, or Love and Pride" and "The Secret, or The Hole in the Wall" "The Merchant of Venice" and "Taming of the Shrew" "Richard III, or The Battle of Bosworth Field" Closed "The Marble Heart" "Hamlet" "Romeo and Juliet" "Money" "Richard III" "The Robbers, or The Forest of Bohemia" Closed "The Nobleman's Daughter" and "In and Out of Place" "Noemie, the Foster Sister," "A Day Too Late" and "The Youth Who Never Saw a Woman" "The Governor's Wife" and "A Day Too Late" Maggie Mitchell Same Maggie Mitchell J. T. Fannon Maggie Mitchell C. B. Bishop Maggie Mitchell Same Maggie Mitchell C. B. Bishop Same Maggie Mitchell Same Same Same Same Same Maggie Mitchell Same Same Same Same Same JOHN WILKES BOOTH Same Same Same Same Same JOHN WILKES BOOTH Same Same Same Same Same Emma Webb Ada Webb Same Same 109 DATE PRODUCTION LEADING ACTORS 27 Nov., Fri. 28 Nov., Sat. 29 Nov., Sun. 30 Nov., Mon. 1 Dec, Tues. 2 Dec, Wed. 3 Dec, Thurs. 19 Nov., Thurs. "Nicholas Nickleby" and "In and Out of Place" 20 Nov., Fri. "A Husband at Sight," "Catching an Heiress" and "The Manager's Daughter" 21 Nov., Sat. "The Market Girl of Paris" and "The Litde Gypsies" 22 Nov., Sun. Closed 23 Nov., Mon. "Po-Ca-Hon-Tas" and "The Little Gypsies" 24 Nov., Tues. "Po-Ca-Hon-Tas" and "Noemie, or The Foster Sister" 25 Nov., Wed. "Po-Ca-Hon-Tas, or Ye Gentle Savage" and "The Market Girl of Paris" 26 Nov., Thurs. Thanksgi\ing Day 2 Grand Performances Afternoon and Evening "Po-Ca-Hon-Tas" and "Actress of all Work" "Po-Ca-Hon-Tas" and "The Wandering Bovs" Closed "The Invisible Prince, or The Isle of Tran- quil Delights" and "Nicholas Nickleby" "The Invisible Prince, or The Isle of Tran- quU Delights" and "Green Bushes, or Ire- land and America 100 Years Ago" "The Invisible Prince, or The Isle of Tran- quil Delights" "The Maid ^Vith the MUking Pail," "The Invisible Prince" and "Anthony and Cleopatra" 4 Dec, Fri. "The Colleen Ba-%vn," "The Four Sisters" and "Nan, the Good For Nothing" 5 Dec, Sat. "The Colleen Bawn," "The Dav After the Wedding" and "Toodles". 6 Dec, Sun. Closed 7 Dec, Mon. "The Lakes of Killamev" and "Po-Ca-Hon-Tas" 8 Dec, Tues. "The Lakes of Killamev" and "The Invisible Prince, or The Isle of Tranquil Delights" 9 Dec, Wed. "The CoUeen Bawn" and "The Nobleman's Daughter" 10 Dec, Thurs. "The Colleen BawTi," "Opposite Neighbors" and "A Dav Too Late" 11 Dec, Fri. "Beauty and the Beast" and "The Post of Honor" 12 Dec, Sat. "The Colleen Bawn," "A Day Too Late" and "The Four Sisters" 13 Dec, Sim. Closed 14 Dec, Mon. "Henr\- IV" 15 Dec, Tues. Same 16 Dec, Wed. "Merr\- Wives of Windsor" 17 Dec, Thurs. Same 18 Dec, Fri. "Man of the Worid, or The Politician," "Mons. Mallet, or The Post Office Mis- take" and "My Precious Betsy" 19 Dec, Sat. "Henry IV" and "Dominique, the Deserter" 20 Dec, Sun. Closed 21 Dec, Mon. "Married Life" and "The People's Lawyer" Emma Webb Ada Webb Same Same Emma Webb Ada Webb Same Same Same Same Same Emma Webb Ada Webb Same Same Same Same Same Emma Webb Ada Webb Same Same Same Same Same James H. Hackett Same Same Same Same Same John E. Owens 110 DATE PRODUCTION LEADING ACTORS 22 Dec, Tues. "Paul Pry, or I Hope I Don't Intrude" and John E. Owens "Forty Winks" 23 Dec, Wed. "The Victims" and "The Toodles" 24 Dec, Thurs. "The Poor Gentleman" and "The Happiest Day in My Life" 25 Dec, Fri. "The Drunkard, or The Fallen Saved" 26 Dec, Sat. "The Serious Family" and "Paul Pry" 27 Dec, Sun. Closed 28 Dec, Mon. "Self" and "Young England" 30 Dec! Wed. "Self" and "The Happiest Day in My Life" 31 Dec, Thurs. "Everybody's Friend" and "A Conjugal Lesson" Same Same Same Same John E. Owens Same Same Same 1 Jan., Fri. 2 Jan., Sat. 3 Jan., Sun. 4 Jan., Mon. 5 Jan., Tues. 6 Jan., Wed. 7 Jan., Thurs. 8 Jan., Fri. 9 Jan., Sat. 10 Jan., Sun. 11 Jan., Mon. 12 Jan., Tues. 13 Jan., Wed. 14 Jan., Thurs. 15 Jan., Fri. 16 Jan., Sat. 17 Jan., Sun. 18 Jan., Mon. 19 Jan., Tues. 20 Jan., Wed. 21 Jan. 22 Jan. Thurs. Fri. 23 Jan., Sat. 24 Jan., Sun. 25 Jan., Mon. 26 Jan., Tues. 27 Jan., Wed. 28 Jan., Thurs. 29 Jan., Fri. 30 Jan., Sat. 31 Jan., Sun. 1864 "Self," "Victims" and "The People's Lawyer" "Heir at Law" and "John Dobbs" Closed "Nick of the Woods, or The Jibbenainosay" "Nick of the Woods" and "Poor Pillicoddy" "Ambition" and "The Post of Honor" Same "Outalanchet, or The Lion of the Forest" and "O'Neil, the Avenger" "Nick of the Woods, or The Jibbenainosay" and "The Rebel Chief" Closed "Our American Cousin" Same "The Lady of Lvons" and "The Post of Honor" "Romeo and Juliet" and "My Precious Betsy" "Love's Sacrifice" and "Sarah's Young Man" "Bianca, or The Italian Wife's Revenge," to conclude with an Elegant Farce Closed "Camille, or The Fate of a Coquette" Same "Much Ado About Nothing," to conclude with A Favorite Farce "The Stranger" "The School for Scandal" and "Nan, the Good For Nothing" "The Honeymoon" and "Horseshoe Robin- son" Closed "Lady Audley's Secret," to conclude with A Favorite Farce Same Same Same Same Same Closed John E. Owens Same Joseph Proctor Same Same Same Same Same John T. Raymond Same Mrs. D. P. Bowers Same Same Same Mrs. D. P. Bowers Same Same Same Same Mrs. D. P. Bowers Mrs. D. P. Bowers Same Same Same Same Same 688-^40 O— 63- 111 DATE PRODUCTION LEADING ACTORS 1 Feb., Mon 2 Feb., Tues. 3 Feb., Wed. 4 Feb., Thurs. 5 Feb., Fri. 6 Feb., Sat. 7 Feb., Sun. 8 Feb., Mon. 9 Feb., Tues. 10 Feb., Wed. 11 Feb., Thurs. 12 Feb., Fri. 13 Feb., Sat. 14 Feb., Sun. 15 Feb., Mon. 16 Feb., Tues. 17 Feb., Wed. 18 Feb., Thurs. 19 Feb., Fri. 20 Feb., Sat. 21 Feb., Sun. 22 Feb., Mon. 23 Feb., Tues. 24 Feb., Wed. 25 Feb., Thurs. 26 Feb., Fri. 27 Feb., Sat. 28 Feb., Sun. 29 Feb., Mon. 1 Mar., Tues. 2 Mar., Wed. 3 Mar., Thurs. 4 Mar., Fri. 5 Mar., Sat. 6 Mar., Sun. 7 Mar., Mon. 8 Mar., Tues. 9 Mar., Wed. 10 Mar., Thurs. 11 Mar., Fri. 12 Mar., Sat. 13 Mar., Sun. 14 Mar., Mon. "Lady Isabel of East Lynne" Same Same Same Same "Lady Isabel of East Lynne" and "Mummy" Closed "Lady Isabel of East Lynne" and "Easy Shaving" Same "Plot and Passion" and "Easy Shaving" "The Rivals, or a Trip to Bath" and "Poor Pillicoddy" "Pauline, or The Mysteries of the Chateau De Bercy" and" Your Life's in Danger" "Pauline, or The Mysteries of the Chateau De Bercy" and "The Toodles" Closed "A Bold Stroke for a Husband" and "A Regular FLx" "Jane Shore" and "A-Regular Fix" "Much Ado About Nothing" "Pauline, or The Mysteries of the Chateau De Bercy" "Woman, or Love Against the World" "The Stranger" and "Four Sisters" Closed "Rosedale, or The Rifle Ball" Same Same Same Same Same Closed "Rosedale, or The Rifle Ball" Same "The Octoroon, or Life in Louisiana" "Babes in the Wood" and "Paul Pry" "Married Life" and "The Toodles" "The Fat Boy," "He's Jack Sheppard" and "My Neighbor's Wife" Closed "Leap Year, or The Ladies' Privilege" and "Fasionable Society" "Babes in the Wood" and "The Fat Boy" "Rivals" and "Toodles" "Single Life" and "Married Life" "Our American Cousin," "Somebody's Coat" and "The Russian Admiral" "Our American Cousin," "Toodles" and "The Russian Admiral" Closed "Henry IV," "The Battle of Shrewsbury" and "The Death of Hotspur" Mrs. D. P. Bowers Same Same Same Same Same Mrs. D. P. Bowers Same Same Same Same Same Mrs. D. P. Bowers Same Same Same Mrs. D. P. Bowers Same Mr. and Mrs. C. M. Walcot, Jr., and Alice Gray Same Same Same Same Same Mr. and Mrs. C. M. Walcot, Jr., and Alice Gray Same C. M. Walcot, Jr. J. S. Clarke Same Same J. S. Clarke Same Same Same Same Same H. Hackett Charles Kemble-Mason 112 DATE PRODUCTION LEADING ACTORS 15 Mar., Tues. 16 Mar., Wed. 17 Mar., Thurs. 18 Mar., Fri. 19 Mar., Sat. 20 Mar., 21 Mar., 22 Mar., 23 Mar., 24 Mar., 25 Mar., 26 Mar., 27 Mar., 28 Mar., 29 Mar., 30 Mar., 31 Mar., 1 Apr., Apr., Apr., Apr., Apr., Apr., Sun. Mon. Tues. Wed. Thurs. Fri. Sat. Sun. Mon. Tues. Wed. Thurs. Fri. Sat. Sun. Mon. Tues. Wed. 7 Apr., Thurs. 8 Apr., Fri. 9 Apr., Sat. 10 Apr., Sun. 11 Apr., Mon. 12 Apr., Tues. 13 Apr., Wed. 14 Apr., Thurs. 15 Apr., Fri. 16 Apr., Sat. 17 Apr., Sun. 18 Apr., Mon. 19 Apr., Tues. 20 Apr., Wed. 21 Apr., Thurs. 22 Apr., Fri. "The Merry Wives of Windsor, or FalstafF Outwitted ijy Women" "Man of the World," "Monsieur Mallet, or The Post Office Mistake" and "A Regular Fix" "The Merry Wives of Windsor, or Falstaff Outwitted by Women" "Henry IV" "The Merry Wives of Windsor, or Falstaff Outwitted by Women" and "A Regular FLx" Closed "Virginius" "Hamlet" "The Octoroon, or Life in Louisiana" "Richelieu" "Damon and Pythias" "The Octoroon, or Life in Louisiana" Closed "Richard III" "RicheHeu" "The Octoroon, or Life in Louisiana" "Othello" "Brutus, or The Fall of Tarquin" "The Octoroon, or Life in Louisiana" Closed "Macbeth" "Pizarro, or The Death of Rolla" "Senor Valiente, or The Soldier of Chapulte- pec" "Virginius" "King Lear" "Senor Valiente, or The Soldier of Chapul- tepec" Closed "King Lear" "Damon and Pythias" "Man and Wife, or More Secrets Than One"; grand violin solo, "The Girl I Left Behind Me"; and poem recital, "Shamus O'Brien, or The Bould Boy of Glingall" "The Broker of Bogota" Same "Wine Works Wonders" and "Horseshoe Robinson"; grand violin solo, "The Girl I Left Behind Me"; and poem recital, "Shamus O'Brien, or The Bould Boy of Glingall" Closed "Hamlet" "Othello" "As You Like It"; comic Shakespearean song, "The Seven Ages of Man"; and "Young England" "King Lear" "Macbeth" J. H. Hackett Charles Kemble-Mason J. H. Hackett Alice Gray Same J. H. Hackett Charles Kemble-Mason Same Edwin Forrest Same Alice Gray Edwin Forrest Same Alice Gray Edwin Forrest Same Alice Gray Edwin Forrest Same Alice Gray Edwin Forrest Same Edwin Forrest Alice Gray Edwin Forrest Same Edwin Forrest Alice Gray Edwin Forrest Same John McCullough Prof. William Withers Edwin Forrest Same J. A. Heme C. B. Bishop Prof. William Withers John McCullough Edwin Forrest Same C. B. Bishop Jos. Parker Edwin Forrest Same 113 DATE PRODUCTION LEADING ACTORS 23 Apr., Sat. "Romeo and Juliet" (second act and bal- cony scene), "A Midsummer's Night Dream" (first and fifth acts), "As You Like It" (second act) and "Taming of the Shrew" (Display of fireworks outdoors be- fore the performance) J. A. Heme Mrs. J. A. Allen C. B. Bishop 24 Apr., Sun. Closed 25 Apr., Mon. "Jack Cade" Edwin Forrest 26 Apr., Tues. "Metamora" Same 27 Apr., Wed. "The Jewess, or The Council of Constance" H. B. Phillips and "The Little Treasure" Mrs. J. H. Allen 28 Apr., Thurs. "Jack Cade" Edwin Forrest 29 Apr., Fri. "Metamora" Same 30 Apr., Sat. "She Stoops to Conquer, or The Mistakes of H. B. Phillips a Night" and "The Avenging Hand" John McCullough 1 May, Sun. Closed 2 May, Mon. "The Gladiator" Edwin Forrest 3 Mav, Tues. Same Same 4 May, Wed. "The Soldier's Daughter" and "Sketches in Alice Gray India," concluding with her famous song Susan Denin "Whack Row-De-Dow" 5 May, Thurs. "Coriolanus" Edwin Forrest 6 May, Fri. Same Same 7 May, Sat. "The Soldier's Daughter", and "The Aveng- Alice Gray ing Hand" J. H. McCullough 8 May, Sun. Closed 9 May, Mon. "Everybody's Friend" and "The Toodles" J. S. Clarke Susan Denin 10 May, Tues. "Married Life" and "The Toodles" Same 11 May, Wed. "Our American Cousin" and "Two Mur- derers" Same 12 May, Thurs. "Everybody's Friend" and "He's Jack Shep- pard" Same 13 May, Fri. "Knights of the Round Table" and "Love in Livery" Same 14 May, Sat. "Paul Pry" and "Jonathan Bradford, or The Murder at the Roadside Inn" Same 15 May, Sun. Closed 16 May, Mon. "The Love Chase" and "A Dav After the Wedding" Mary Mitchell 17 Mav, Tues. "London Assurance" Same 18 May, Wed. "The French Spy, or The Siege of Algiers" and "A Day After the Wedding" Same 19 May, Thurs. "The Hidden Hand" Same 20 May, Fri. "Satan in Paris" and "The Youth Who Never Saw a Woman" Same 21 May, Sat. "Hidden Hand" Mary Mitchell 22 May, Sun. Closed 23 May, Mon. "The Naiad Queen." During the spectacle. Susan Denin a grand Amazonian march by Eighteen J. H. Foster Young Ladies, magnificently arrayed in glittering armor. 24 May, Tues. Same Same 25 May, Wed. Same Same 26 May, Thurs. Same Same 27 May, Fri. Same Same 28 May, Sat. Same Same 29 May, Sun. Closed 114 DATE PRODUCTION LEADING ACTORS 30 May, Mon. 31 May, Tues. 1 June, Wed. 2 June, Thurs. 3 June, Fri. 4 June, Sat. 5 June, 6 June, 7 June, 8 June, 9 June, 10 June, 11 June, 12 June, 13 June, 14 June, 15 June, 16 June, 17 June, 18 June, 19 June, 20 June, Sun. Mon. Tues. Wed. Thurs. Fri. Sat. Sun. Mon. Tues. Wed. Thurs. Fri. Sat. Sun. Mon. 21 June, Tues. 22 June, 23 June, Wed. Thurs. 24 June, Fri. 25 June, Sat. 26 June, Sun. 27 June, Mon. 28 June, Tues. 29 June, Wed. 30 June, Thurs. 1 July, Fri. 2 July, Sat. "The Naiad Queen" Same Same Same "A Bull in a China Shop" and "His Last Legs" "Heir at Law" and "Jack Robinson and his Monkey" Closed "Comedy of Errors" and "Our Country Cousin" Same "The Fat Boy" and "Comedy of Errors" Same "Robert Macaire" and "Comedy of Errors" "Comedy of Errors" and "Jonathan Brad- ford" Closed "Luck, or The Gentleman of Nature" and "The Toodles" "Luck, or The Gentleman of Nature" and "Babes in the Wood" "The Knights of the Round Table" and "Love in Livery" "Comedy of Errors" and "Babes in the Wood" "Everybody's Friend" and "The Toodles" "The Knights of the Round Table" and "Golden Farmer" Sacred Grand Concert "Two Gentlemen of Verona" and "Love in Livery" "Two Gentlemen of Verona" and "The Comedy of Errors" Same "Forty Thieves" — The piece concludes with the resplendent scene by Mr. C. Getz, "The Home of the Fairies," and "The Cascades of the Silver Lake." Same Same Closed "Forty Thieves" Same Same "The Three Guardsmen," terminating with a grand battle picture, "An Assault Upon Rochelle" and the terrible storming of the battlements. "The Three Guardsmen" and "An Assault Upon Rochelle," to be followed by: Indian Club Exercises Violin Solo "Chinese dance" (comic) "The Dutch Actor" "The Three Guardsmen" and "An Assault Upon Rochelle" "Sketches in India" and her famous song, " Whack-Row-de-Dow" Susan Denin Same Same Same George Becks B. G. Rogers B. G. Rogers J. H. Foster J. S. Clarke Alice Gray Same Same Same Same Same J. S. Clarke Same Same Same Same J. S. Clarke Mme. Cecilia Y. Kretschmar J. S. Clarke Same Same Susan Denin Same Same Susan Denin Same Same Same S. W. Glenn Susan Denin A. W. Brady Prof. Wm. Withers Foster Brothers S. W. Glenn S. W. Glenn Susan Denin 115 DATE PRODUCTION LEADING ACTORS 3 July, Sun. 4 July, Mon. 5 July, Tues. 6 July, Wed. 7 July, Thurs. 10 July, Sun. n July, Mon. 4 Aug. Thurs 5 Aug. Fri. 6 Aug. Sat. 7 Aug. Sun. 8 Aug. Mon. 9 Aug. Tues. 10 Aug. Wed. 11 Aug. Thurs 12 Aug. Fri. 13 Aug. Sat. 14 Aug. Sun. 15 Aug. Mon. 16 Aug. Tues. 17 Aug. Wed. 18 Aug. Thurs 19 Aug. Fri. 20 Aug. Sat. 21 Aug. Sun. 29 Aug. , Mon. 29 Aug., Mon. 30 Aug., Tues. 31 Aug., Wed. 1 Sept., Thurs. 2 Sept., Fri. 3 Sept., Sat. 4 Sept., Sun. 5 Sept., Mon. 6 Sept., Tues. 116 Closed "The Three Guardsmen," grand National Anthem by the entire company, and pan- tomime "The Magic Trumpet" "The Serious Family," "Ethiopian Melange" and "Romeo and Juliet" Song and Dance Pantomine "The Magic Trumpet" "The Serious Family," "Chinese Dance," (comic) Indian Club Exercises, "My Prec- ious Betsy" (farce) Closed for the Season Grand Vocal and Instrumental Concert of Sacred Music Closed for the Season to August 3, Wednes- day "Our American Cousin" "Young Widow" and "Married Life" "Our American Cousin" and "Stage Struck" Closed "Christy's Minstrels" Same Same Same Same Same Closed "Christy's Minstrels" Same Same Same Same Same Closed to August 28, Sunday The Second Regular Season: Opening of the Fall and Winter Season. Stage Manager Orchestra Leader Treasurer A new drop curtain has been designed and executed by James Lamb, Esq. "Handy Andy," "Mischievous Annie" and "The Returned Volunteer" Same "The Irish Emigrant," "The Young Ac- tress" and "The Irish Mormon" Same " The Irish Lion," "The Young Actress" and "Lord Flannigan" "Shandy Maguire" and "The Young Actresss" Closed "Born to Good Luck, or An Irishman's For- tune," "Thrice Married, or Lucky Stars" and "The Yankee Housekeeper" Same S. W. Glenn Foster Brothers S. S. Stanford F. Myers J. Diamond Foster Brothers Susan Denin Foster Brothers Prof Withers and orchestra, Juliana May, Herr Wagner J. J. Raymond W. P. Sheldon, C. B. Bishop J. J. Raymond, C. B. Bishop George Christy Same Same Same Same Same George Christy Same Same Same Same Same J. B. Wright W. Withers, Jr. H. Clay Ford Mr. and Mrs. W. J. Florence Same Same Same Same Same Mr. and Mrs. W. J. Florence Same DATE PRODUCTION LEADING ACTORS 7 Sept., Wed. 8 Sept., Thurs. 9 Sept., Fri. 10 Sept., Sat. 1 1 Sept., Sun. 12 Sept., Mon. 13 Sept., Tues. 14 Sept., Wed. 15 Sept., Thurs 16 Sept., Fri. 17 Sept., Sat. 18 Sept., Sun. 19 Sept., Mon. 20 Sept., Tues. 21 Sept., Wed. 22 Sept., Thurs. 23 Sept., Fri. 24 Sept., Sat. 25 Sept., Sun. 26 Sept., Mon. 27 Sept., Tues. 28 Sept., Wed. 29 Sept., Thurs. 30 Sept., Fri. 1 Oct., Sat. 2 Oct. Sun. 3 Oct. Mon. 4 Oct. Tues. 5 Oct. Wed. 6 Oct. Thurs 7 Oct. Fri. 8 Oct. Sat. 9 Oct. Sun. 10 Oct. Mon. 11 Oct. Tues. 12 Oct. Wed. 13 Oct. Thurs 14 Oct. Fri. 15 Oct. Sat. 16 Oct. Sun. 17 Oct. Mon. 18 Oct. Tues. "The Irish Lion," "The Young Actress" and "The Happy Man" "Handy Andy," "Mischievous Annie" and "The Yankee Housekeeper" "Irish Assurance and Yankee Modesty," "Thrice Married" and "The Returned Vohinteer" "Rory O'More" and "Mischievous Annie" Closed "Ireland As It Was" and "Yankee House- keeper" "Dombey and Son" "Shandy Maguire" and "Irish Assurance and Yankee Modesty" "The Deserter, or Military Execution" and "A Lesson for Husbands" "Dombey and Son" "Ireland As It Was" and "The Yankee Housekeeper" Closed "Kathleen Mavourneen, or St. Patrick's Eve" and "Thrice Married" Same "Kathleen Mavourneen, or St. Patrick's Eve" and "A Lesson for Husbands" Same "Kathleen Mavourneen, or St. Patrick's Eve" and "Mischievous Annie" Same Closed "Fanchon the Cricket" Same Same Same Same Sat. afternoon at 3:00: Benefit of the Third Ward fund to relieve drafted men. "Mar- got, or The Poultry Dealer" and "The Jealous Stock Broker". Sat. evening at 8:00: "Fanchon the Cricket" Closed "The Pearl of Savoy, or A Mother's Prayer" Same Same Same "Little Barefoot" Same Closed "Fanchon the Cricket" "The Pearl of Savoy, or A Mother's Prayer" "Little Barefoot" Same "The Pearl of Savoy, or A Mother's Prayer" Same Closed "Life and Death of Richard III" Same Mr. and Mrs. W. J. Florence Same Same Same Mr. and Mrs. W. J. Florence Mr. W. J. Florence Mr. and Mrs. W. J. Florence Same Mr. W. J. Florence Mr. and Mrs. W. J. Florence Mr. and Mrs. W. J. Florence Same Same Same Same Same Maggie Mitchell Same Same Same Same Maggie Mitchell Maggie Mitchell Same Same Same Same Same Maggie Mitchell Same Same Same Same Same JUNIUS BRUTUS BOOTH Same 117 DATE PRODUCTION LEADING ACTORS 19 Oct., Wed. "Much Ado About Nothing" 20 Oct., Thurs. "Macbeth" 21 Oct., Fri. "The Merchant of Venice" and "Katherine and Petruchio" 22 Oct., Sat. "Retribution, or A Husband's Revenge" and "Katherine and Petruchio" 23 Oct., Sun. Closed 24 Oct., Mon. "Hamlet" 25 Oct., Tues. "Retribution, or A Husband's Revenge" and "She Would and He Wouldn't" During the evening, the orchestra, under the direction of Prof. Wm. Withers, Jr., will perform the GRAND U.S. MILITARY QUADRILLE composed expressly for the Winter Garden, N.Y., by Robert Stoepel, Esq., and kindly presented by him to Mr. J. T. Ford. "A New Way to Pay Old Debts" "Richard III" "Macbeth" "Retribution, or A Husband's Revenge" and "She Would and He Wouldn't" Closed "Faust and Marguerite" Same Same Same "Faust and Marguerite". During the evening the band under the direction of Prof. Wm. Withers, Jr., will perform the spirited, stirring UNITED STATES MILITARY QUADRILLE. "Faust and Marguerite" Closed "The Erring and Penitent Wife" and "East Lynne, or The Elopement" Same NOTICE— A CARD.— Returns of the votes of the PRESIDENTIAL ELECTION will be announced from the stage during the performance, as soon as they are received by telegram. "The Stranger, or Misanthropy and Re- pentance" and "My Dress Boots" "Child of the Regiment" and "Rough Dia- mond" "Miriam's Crime" and "Blondin on the Low Rope" Same Closed "The Seven Sisters" and "The Birth of Cupid in the Bower of Ferns" Tues. Same Wed. Same Thurs. Same Fri. Same Sat. Same 20 Nov., Sun. Closed 26 Oct., Wed. 27 Oct., Thurs. 28 Oct., Fri. 29 Oct., Sat. 30 Oct., Sun. 31 Oct., Mon. 1 Nov., Tues. 2 Nov., Wed. 3 Nov., Thurs. 4 Nov., Fri. 5 Nov., Sat. 6 Nov., Sun. 7 Nov., Mon. 8 Nov., Tues. 9 Nov., Wed. 10 Nov., Thurs. 1 1 Nov., Fri. 12 Nov., Sat. 13 Nov., Sun. 14 Nov., Mon. 15 Nov., 16 Nov., 17 Nov., 18 Nov., 19 Nov., JUNIUS BRUTUS BOOTH Same Same JUNIUS BRUTUS BOOTH Same Same Same Same Same J. B. Roberts Same Same Same Same Same Alice Gray Same J. Wheelock Mr. and Mrs. Wm. Gomersal Same Same John E. McDonough Same Same Same Same Same 118 DATE PRODUCTION LEADING ACTORS 21 Nov., Mon. Tues. Wed. Thurs. Fri. Sat. Sun. Mon. Tues. Wed. Thurs Fri. Sat. Sun. Mon Tues. Wed. Thurs. Fri. Sat. Sun. Mon. Tues. Wed. Thurs. Fri. Sat. Sun. Mon. Tues. Wed. Thurs. Fri. Sat. Sun. Mon. Tues. Wed. Thurs. Fri. Sat. "The Seven Sisters" and "The Birth of Cupid in the Bower of Ferns" Same Same Same Same "The Seven Sisters" (first two acts) and "Po-Ca-Hon-Tas" Closed "Kathleen Mavourneen, or Under the Spell" and "A Loan of a Lover" Same "Pioneer Patriot, or The Maid of the War Path" and "It Takes Two to Quarrel" Same "Hidden Hand" Same Closed "Fanchon the Cricket" Same Same Same Same Same Closed "Lady Audley's Secret, or The Mysteries of Audley Court" Same "The Jewess of Madrid, or The Monastery of St. Just" Same "Camille" "The Italian Wife" and "The Serious Fam- ily" Closed Treasury Ball and Concert "Lady Audley's Secret" Same "The Hunchback" "Lady Isabel of East Lynne" Same Closed "Mazeppa, or An Untamed Rocking Horse," "Solon Shingle" and "Camille" "Mons. Jacques," "Camille" and "Mazeppa, or An Untamed Rocking Horse" "Rip Van Winkle, or A Legend of the Cat- skills" and "Mazeppa, or An Untamed Rocking Horse" "Acting Mad," "CamUle" and "More Blunders Than One" "Handy Andy" and "Shylock, or The Mer- chant of Venice Preserved" "Maccarthy More," "Acting Mad" and "Mazeppa, or An Untamed Rocking Horse" John E. McDonough Same Same Same Same Same Mrs. H. Watkins Same Mr. H. Watkins Same Same Same Maggie Mitchell Same Same Same Same Same Mrs. D. P. Bowers Same Same Same Same Same Mrs. D. P. Bowers Same Same Same Same Frank Drew Same Same Frank Drew Same Same 119 DATE PRODUCTION LEADING ACTORS 7565 IJan. , Sun. Closed 2 Jan. , Mon. "Damon and Pythias" Edwin Forrest 3 Jan. , Tues. Same Same 4 Jan. , Wed. "Richelieu, or The Conspiracy" Same 5 Jan. , Thurs. Same Same 6 Jan. Fri. "Othello" Same 7 Jan. Sat. "The Robbers" John McCuUough 8 Jan. Sun. Closed 9 Jan. Mon. "Macbeth" Edwin Forrest 10 Jan. Tues. Same Same 11 Jan. Wed. "Hamlet" Same 12 Jan. Thurs. "King Lear" Same 13 Jan. Fri. Same Same 14 Jan. Sat. "Lucretia Borgia" and "People's Lawyer" Alice Gray and John McCullough 15 Jan. Sun. Closed 16 Jan. Mon. "Richelieu" Edwin Forrest 17 Jan. Tues. "Othello" Cancelled "Lucretia Borgia" and "People's Lawy er" Alice Gray and John McCullough 18 Jan. Wed. "Jack Cade, the Bondman of Kent" Edwin Forrest 19 Jan. Thurs. Same Same 20 Jan. Fri. "Othello" Same 21 Jan. Sat. "The Wife, A Tale of Mantua,' Pirate's Legacy" ' and ' 'The Alice Gray and John McCullough 22 Jan. Sun. Closed 23 Jan. Mon. "Metamora, the Last of the Wampanoages" Edwin Forrest 24 Jan. Tues. Same Same 25 Jan. Wed. "The Wonder, or A Woman Keeps a Secret" Mme. Ponisi and "The Serious Family" 26 Jan. Thurs. "Coriolanus" Edwin Forrest 27 Jan. Fri. Same Same 28 Jan. Sat. "The Streets of New York" Alice Gray and C. B. Bishop 29 Jan. Sun. Closed 30 Jan. Mon. "Gladiator" Edwin Forrest 31 Jan. Tues. Same Same 1 Feb. Wed. "The Streets of New York" Alice Gray 2 Feb. Thurs. "King Lear" Edwin Forrest 3 Feb. Fri. "Richard III" Same (benefit and last appear- ance) 4 Feb. Sat. "The Streets of New York" Alice Gray 5 Feb. Sun. Closed 6 Feb. Mon. "Rivals" and "The Toodles" J. S. Clarke 7 Feb. Tues. "Paul Pry, or I Hope I Don't In "Married Life" trude" and Same 8 Feb. Wed. "She Stoops to Conquer" and " My Neigh- Same bor's Wife" 9 Feb. Thurs "Babes in the Woods" and "Paul Pry" Same 10 Feb. Fri. "Everybody's Friend" and "Love in Livery" Same 11 Feb. Sat. "Everybody's Friend" and "P. Man and the Tiger" R, or The Same 12 Feb. Sun. Closed 13 Feb. Mon. "School of Reform" and "Toodl es" J. S. Clarke 14 Feb. Tues. "Married Life," "Love in Livery" and Same "Somebody's Coat" 15 Feb. Wed. "The Streets of New York" Same 16 Feb. Thurs. Same Same 17 Feb. Fri. Same Same 120 DATE PRODUCTION LEADING ACTORS 18 Feb., Sat. 19 Feb., Sun. 20 Feb., Mon. 21 Feb., Tues. 22 Feb., Wed. 23 Feb., Thurs. 24 Feb., Fri. 25 Feb., Sat. 26 Feb., Sun. 27 Feb., Mon. 28 Feb., Tues. 1 Mar., Wed. p 2 Mar., Thurs. 3 Mar., Fri. , 4 Mar., Sat. I 5 Mar., Sun. 6 Mar., Mon. 7 Mar., Tues. 8 Mar., Wed. 9 Mar., Thurs. 10 Mar., Fri. 11 Mar., Sat. 12 Mar., Sun. 13 Mar., Mon. 14 Mar., Tues. 15 Mar., Wed. 16 Mar., Thurs. 17 Mar., Fri. 18 Mar., Sat. 19 Mar., Sun. 20 Mar., Mon. 21 Mar., Tues. Same Closed "School of Reform" and "The Toodles" "The Poor Gentleman" and "Our Ameri- can Cousin" GRAND BALL "Love in Livery" and "Nicholas Nickleby" "Nicholas Nickleby" and "Leap Year" "Our Country Cousin," "The Toodles" and "Jonathan Bradford, or The Murder at the Roadside Inn" Closed "Camille" "The Mystery of Audley Court" "The Hunchback" "The Jewess of Madrid, or The Monastery of St. Just" "The Lady of Lyons" "Stranger" and "Honeymoon" Closed "Lady Audley's Secret" and "Shocking Events" "Bianca, the Italian Wife" and "Shocking Events" "Diana, or Love's Masquerade" "Diana, or Love's Masquerade" and "My Wife's Maid" "Lady Audley's Secret" and "A Day After the Wedding" "Diana, or Love's Masquerade" and "The Wreck Ashore" A Grand Concert for the Benefit of Mr. Wm.. Withers "Richelieu" "Brutus, or The Fall of Tarquin" "Jane Shore" and "The Love Chase" "The Broker of Bogota" "Virginius, the Roman Father" "The Apostate" and "Jonathan Bradford" GRAND VOCAL AND INSTRUMEN- TAL CONCERT. SUNDAY EVE- NING, MARCH 19. BENEFIT OF JAMES R. O'BRYON, of Ford's Theater, "DRAFTED". The following eminent talent of this city have kindly volunteered their services for this special occasion: Mrs. C. Young Kretschmar, Madame Marie Merino, Mr. J. K. Goodall, Mr. A. D. Reed, Mr. E. Douglas Webb, Mr. George Loesch, Mr. Hubert Schutter, Mr. John Parsons, and Signor Frederico Gennari "Nick of the Woods, or The Jibbenainosay" Same J. S. Clarke J. S. Clarke Same J. S. Clarke Same Same Mrs. D. P. Bowers Same Same Same Same (benefit and only perform- ance) Same Mrs. D. P. Bowers Same Same Same Same Same Miss Adalina Motie Mme. Marie Merino Signor Giuseppe Tamaro Edwin Forrest Same Mrs. I. B. Phillips, Alice Gray Edwin Forrest Same John McCullough, JOHN WILKES BOOTH appears as Pescara in "The Apostate" Joseph Proctor Same 121 DATE PRODUCTION LEADING ACTORS 22 Mar., Wed. 23 Mar., Thurs. 24 Mar., Fri. 25 Mar., Sat. 26 Mar., Sun. 27 Mar., Mon. 28 Mar., 29 Mar., 30 Mar., 31 Mar., Apr., Apr., Apr., Apr., Apr., Apr., 7 Apr., 8 Apr., 9 Apr., 10 Apr., Tues. Wed. Thurs. Fri. Sat. Sun. Mon. Tues. Wed. Thurs Fri. Sat. Sun. Mon. 11 Apr., Tues. 12 Apr., Wed. 13 Apr., Thurs. 14 Apr., Fri. 15 Apr., Sat. "Ambition, or The Throne, The Tomb, and the Scaffold" Same "Pizarro, or The Death of Rolla" and "Outalanechet" "The Rebels Doom, or The Death Fetch" and "Nick of the Woods" Closed "La Forza Del Destine" (The Force of Des- tiny) Max Maretzek's Grand Italian Opera, for six nights only. Opening night, Mon. Mar. 27, 1865. "Fra DiaVola" "Ernani" "La Sonnambula" "Poliuto" "Don Sebastian" Closed "The Workmen of Washington" Same Same Same Same Same Closed "She Stoops to Conquer, or The Mistakes of a Night" and "Hole in the Wall" "School for Scandal" "The Workmen of Washington" "The Story of Peggy the Actress" and "The Hole in the Wall" "Our American Cousin" ASSASSINATION OF PRESIDENT ABRAHAM LINCOLN Closed by order of Secretary of War E. M. Stanton. Joseph Proctor Same Same Same Signora Carozzi Zucchi Conductor: Carl Bergman Leader: Henry Appy Clara Louise Kellogg Signora Carozzi Zucchi Clara Louise Kellogg Signora Carozzi Zucchi Same Laura Keene Same Same Same Same Same Laura Keene Same Same Same Laura Keene 122 APPENDIX C FORD'S THEATER The One Hundred and THIRTY-THIRD ANNIVERSARY of the BIRTHDAY of GEN. GEORGE WASHINGTON First President of the United States February 22, 1865 It will be observed in this splendid theater by a GRAND BALL AND PROMENADE CONCERT with GYMNASTIC EXERCISES by ABNER S. BRADY Late principal of the Seventh Regiment Gymnasium, St. Mark's Place, New York, now of Brady's Gymnasium, Washington AND HIS PUPILS The Renowned HANLON BROTHERS George, William, Thomas, and Alfred The most distinguished Gymnasts of this or any other country have returned from their South American Tour, and wUI in compliment to Mr. Brady, visit Washington to APPEAR ON THIS OCCASION ONLY The Ball and Promenade Concert will be conducted with the same Liberality, Discrimination, and Exclusiveness as distinguished the Grand Balls at the Academy of Music, New York The Theatre will be most brilliantly illuminated, and gorgeously decorated with EVERGREENS, ONE HUNDRED SINGING CANARY BIRDS, AND FINE PAINTINGS. Also, TWO GRAND BANDS— one for Promenading and one for Dancing— so there will be NO CESSATION OF MUSIC DURING THE EVENING The invited guests will embrace THE PRESIDENT OF THE UNITED STATES THE MEMBERS OF THE CABINET AND THE MILITARY AND NAVAL CELEBRITIES IN OR NEAR WASHINGTON. ' EveningStar, February 21, 1865. 123 April 13, 1962 Dr. George J. Olszewski, Historian Ford's Theatre 511 10th St. N.W. Washington 25, D.C. Dear Dr. Olszewski: As I told you on your visit here in New York, I say again and unequivocally that John Wilkes Booth did not bore the hole in the door leading to the box President Lincoln occupied the night of his assassi- nation, April 14, 1865, as "history" seems to think and has so many times repeated. The hole was bored by my father, Harry Clay Ford, or rather on his orders, and was bored for the very simple reason it would allow the guard, one Parker, easy opportunity whenever he so desired to look into the box rather than to open the inner door to check on the Presidential party. As we know Parker left his post to view the performance from the dress circle. My father would always "blow his top" , to use today's slang, whenever he read or heard of this historical absurdity (who was it said "history is an implied lie?") and would often finish his vehemence by saying,^'\John Booth had too much to do that day other than to^around boring holes in theatre doors". And while it is true Mr. Booth might use "professional courtesies" to attend performances, it is laughable to imagine he had such free access to Ford's Theatre that he could perform feats of carpentry whenever he wished, to say nothing of doing it the very day the decision was made by President Lincoln to atten