I remember Jenny Lind and heard her (1850 I think) several times. She had the most brilliant, captivating, popular musical style and expression of any one known; (the canary, and several other sweet birds are wondrous fine—but there is something in song that goes deeper—isn't there?)
The great "Egyptian Collection" was well up in Broadway, and I got quite acquainted with Dr. Abbott, the proprietor—paid many visits there, and had long talks with him, in connection with my readings of many books and reports on Egypt—its antiquities, history, and how things and the scenes really look, and what the old relics stand for, as near as we can now get. (Dr. A. was an Englishman of say 54—had been settled in Cairo as physician for 25 years, and all that time was collecting these relics, and sparing no time or money seeking and getting them. By advice and for a change of base for himself, he brought the collection to America. But the whole enterprise was a fearful disappointment, in the pay and commercial part.) As said, I went to the Egyptian Museum many many times; sometimes had it all to myself—delved at the formidable catalogue—and on several occasions had the invaluable personal talk, correction, illustration and guidance of Dr. A. himself. He was very kind and helpful to me in those studies and examinations; once, by appointment, he appear'd in full and exact Turkish (Cairo) costume, which long usage there had made habitual to him.
One of the choice places of New York to me then was the "Phrenological Cabinet" of Fowler & Wells, Nassau street near Beekman. Here were all the busts, examples, curios and books of that study obtainable. I went there often, and once for myself had a very elaborate and leisurely examination and "chart of bumps" written out (I have it yet,) by Nelson Fowler (or was it Sizer?) there.
And who remembers the renown'd New York "Tabernacle" of those days "before the war"? It was on the east side of Broadway, near Pearl street—was a great turtle-shaped hall, and you had to walk back from the street entrance thro' a long wide corridor to get to it—was very strong—had an immense gallery—altogether held three or four thousand people. Here the huge annual conventions of the windy and cyclonic "reformatory societies" of those times were held—especially the tumultuous Anti-Slavery ones. I remember hearing Wendell Phillips, Emerson, Cassius Clay, John P. Hale, Beecher, Fred Douglas, the Burleighs, Garrison, and others. Sometimes the Hutchinsons would sing—very fine. Sometimes there were angry rows. A chap named Isaiah Rhynders, a fierce politician of those days, with a band of robust supporters, would attempt to contradict the speakers and break up the meetings. But the Anti-Slavery, and Quaker, and Temperance, and Missionary and other conventicles and speakers were tough, tough, and always maintained their ground, and carried out their programs fully. I went frequently to these meetings, May after May—learn'd much from them—was sure to be on hand when J. P. Hale or Cash Clay made speeches.
There were also the smaller and handsome halls of the Historical and Athensum Societies up on Broadway. I very well remember W.C. Bryant lecturing on Homoeopathy in one of them, and attending two or three addresses by R.W. Emerson in the other.
There was a series of plays and dramatic genre characters by a gentleman bill'd as Ranger—very fine, better than merely technical, full of exquisite shades, like the light touches of the violin in the hands of a master. There was the actor Anderson, who brought us Gerald Griffin's "Gysippus," and play'd it to admiration. Among the actors of those times I recall: Cooper, Wallack, Tom Hamblin, Adams (several), Old Gates, Scott, Wm. Sefton, John Sefton, Geo. Jones, Mitchell, Seguin, Old Clarke, Richings, Fisher, H. Placide, T. Placide, Thorne, Ingersoll, Gale (Mazeppa) Edwin, Horncastle. Some of the women hastily remember'd were: Mrs. Vernon, Mrs. Pritchard, Mrs. McClure, Mary Taylor, Clara Fisher, Mrs. Richardson, Mrs. Flynn. Then the singers, English, Italian and other: Mrs. Wood, Mrs. Seguin, Mrs. Austin, Grisi, La Grange, Steffanone, Bosio, Truffi, Parodi, Vestvali, Bertucca, Jenny Lind, Gazzaniga, Laborde. And the opera men: Bettini, Badiali, Marini, Mario, Brignoli, Amodio, Beneventano, and many, many others whose names I do not at this moment recall.
In another paper I have described the elder Booth, and the Bowery Theatre of those times. Afterward there was the Chatham. The elder Thorne, Mrs. Thorne, William and John Sefton, Kirby, Brougham, and sometimes Edwin Forrest himself play'd there. I remember them all, and many more, and especially the fine theatre on Broadway near Pearl, in 1855 and '6.
There were very good circus performances, or horsemanship, in New York and Brooklyn. Every winter in the first-named city, a regular place in the Bowery, nearly opposite the old theatre; fine animals and fine riding, which I often witness'd. (Remember seeing near here, a young, fierce, splendid lion, presented by an African Barbary Sultan to President Andrew Jackson. The gift comprised also a lot of jewels, a fine steel sword, and an Arab stallion; and the lion was made over to a show-man.)
If it is worth while I might add that there was a small but well-appointed amateur-theatre up Broadway, with the usual stage, orchestra, pit, boxes, &c., and that I was myself a member for some time, and acted parts in it several times—"second parts" as they were call'd. Perhaps it too was a lesson, or help'd that way; at any rate it was full of fun and enjoyment.
And so let us turn off the gas. Out in the brilliancy of the foot-lights—filling the attention of perhaps a crowded audience, and making many a breath and pulse swell and rise—O so much passion and imparted life!—over and over again, the season through—walking, gesticulating, singing, reciting his or her part—But then sooner or later inevitably wending to the flies or exit door—vanishing to sight and ear—and never materializing on this earth's stage again!