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Behind the Scenes Neighborhoods

Gentlemen and Wise Guys in Girard Estates

 

Stephen Girard, in a posthumous portrait by B. Otis.  Source: Wikipedia.
Stephen Girard, in a posthumous portrait by B. Otis. Note his missing eye.  Source: Wikipedia.

Stephen Girard, the French-born Philadelphia shipping tycoon, was famous for his hard driving work ethic.  He came to America as a teenager, an orphaned cabin boy from the city of Bordeaux, and quickly established himself as a merchant who sent his ships to China and the Caribbean.  Along with John Jacob Astor of New York and Thomas Handasyd Perkins of Boston, he was active in the China trade, speculating in tea and opium. During the Yellow Fever Epidemic of 1794, he personally took care of the sick and dying at a private estate that he had transformed into a hospital. Proud of his adopted country, he named his sailing ships after French Enlightenment figures and ideals: Liberty, Montesquieu, Voltaire. He took over the First Bank of the United States after its charter expired. He immodestly named it the Bank of Stephen Girard, and as sole proprietor made millions lending funds to start up new businesses and to fund public improvements such as turnpikes and canals.

He could also avaricious and cruel. When his wife developed mental health problems in the 1780s, he committed her to the insane ward of the Pennsylvania Hospital and took up with a mistress.

He died in 1831, aged 81, with a fortune of $7.5 million (the modern equivalent of $105 billion) making him according to one calculation the fourth richest American in history, adjusted for percentage of national GDP.  This places him behind only John D. Rockefeller (adjusted wealth $336 billion), Cornelius Vanderbilt ($185 billion), and John Jacob Astor ($100 billion).

Yet Girard left no direct or legitimate heirs.  He gave virtually all of his massive fortune to the city of Philadelphia.  His hotly-contested will’s most famous provision was the establishment of a charity school for “white, male orphans” that would become Girard College.  The estate also controlled vast swaths of land in Philadelphia and its suburbs. Among them was a place very dear to Girard’s heart: Gentilhommiere (“A Gentleman’s Home”), a summer retreat he built in the village of Passyunk.

Gentilhommiere, the Stephen Girard Mansion at 22nd and Shunk Streets, 1972.
Gentilhommiere, the Stephen Girard Mansion at 22nd and Shunk Streets, 1972.

Unlike Germantown, where wealthy Philadelphians such as the Chews built grand summer retreats, Passyunk never became a fashionable summer retreat for the city’s elite.  The land was flat and marshy. The Schuylkill River snaked lazily southward in the distance.   Although similar in style to Benjamin Chew’s Cliveden, Gentilhommiere is hardly baronial in scale. It is low-slung and sparsely ornamented, more a predecessor to the Adirondack camps than the chateaux of Newport.  Girard could have easily afforded a grander place — the Hare’s Powelton mansion in West Philadelphia and Biddle’s Andalusia on the Delaware rivaled the finest English country homes — but he set an early example of reverse snobbery.  Never much of a social animal, the one-eyed old salt enjoyed time away from the cares of commerce, in the company of his mistress and a few close friends.

Girard’s will stipulated that his beloved Gentilhommiere be maintained in perpetuity by the city of Philadelphia as a public park.  It would be as if Bill Gates left his 64,000 square foot Xanadu 2.0 estate outside of Seattle as a house museum, with an endowment left to run it.

By the 1910s, nearly a century after the tycoon’s death, the Girard Estate office decided to develop the former farmland around the mansion with upper-middle class housing, which would then be rented out for additional income.  Architect John Windrim, designer of the titanic Delaware Electric Generating Station and and son of Frank Furness’s most hated rival, laid out plans for blocks of row houses and twins in a variety of period styles: Spanish mission, Tudor, Georgian, and Craftsman Bungalow.  Compared to the squat, plain row houses springing up all over South Philadelphia, the homes of “Girard Estates” were palatial, and their association with the famed financier’s gentlemen’s farm gave added prestige.

Starting in the 1950s, the Girard Estate office began selling off the 481 rental properties to individual homebuyers. The people who lived in these homes were doctors, lawyers, and successful small business owners.  The land immediately around the old Girard mansion remained open as parkland, however.

One mafia don known as “The Chicken Man” made Girard Estates his home, but he never made it out of his home at 2211 W. Porter Street alive. He was Phil Testa, head of  Philadelphia’s Scarfi crime family.  The de facto head of the Philadelphia Mafia fancied himself the Julius Caesar of the Mob.   And like Caesar, this don met his end on the Ides of March, when a nail bomb planted in his home blew the “Chicken Man” to smithereens.  Phil Testa’s death on March 15, 1981 was the opening salvo to the so-called Philadelphia Mafia Wars, which raged for several years afterward.  “Bodies were falling all the time,” said one law enforcement official at the time. “You would be afraid to lay your head down at night for fear the phone would start ringing, calling you out to another one.” Testa’s son Salvatore followed in his father’s footsteps, serving as the Scarfi’s main hit man, until he too was killed — in the back of the Too Sweet candy store in South Philadelphia.

The former Testa house, a Craftsman bungalow located right across from Girard’s Gentilhommiere, was restored and is once again a private home.

Testa Mugshot 1968
Mugshot of Phil “Chicken Man” Testa. Source: Wikipedia.
2117_W._Porter_St,_Philadelphia,_PA
2117 W. Porter Street, where Phil Testa met his end in 1981. Source: “2117 W. Porter St, Philadelphia, PA” by Centpacrr at English Wikipedia. Licensed under CC BY-SA 3.0 via Wikimedia Commons.

Sources:

Tom Nickels, “Where Stephen Girard Called Home,” The Philadelphia Weekly Press, June 3, 2009. http://weeklypress.com/where-stephen-girard-called-home-p1340-1.htm

“The Top Ten Richest of All Time,” New York Daily News, http://www.nydailynews.com/news/top-10-richest-people-time-gallery-1.1186737

Toni Locy, “The Mob Shoots It Out,” The Philadelphia Daily News, April 27, 1989.  http://articles.philly.com/1989-04-27/news/26145174_1_mob-boss-philadelphia-south-jersey-nicodemo-little-nicky-scarfo

Brian Warner, “The 30 Richest Americans of All Time,” Celebrity Net Worth, March 21, 2014. http://www.celebritynetworth.com/articles/entertainment-articles/30-richest-americans-time-inflation-adjusted/#!/6-stephen-girard-net-worth-105-billion_751/

Categories
Behind the Scenes Snapshots of History

The Wreck of the “Governor Ames”

A three masted lumber schooner docked at Race Street and Delaware Avenue, January 17, 1900.
A three masted lumber schooner docked at Race Street and Delaware Avenue, January 17, 1900. 

On December 9, 1909, the lumber schooner Governor Ames set sail from Brunswick, Georgia on a routine coasting voyage to New York. Onboard were 14 souls, including Captain King and his wife. Lashed onto her upper deck was a cargo of freshly cut railroad ties, most likely headed for the New York Central Railroad’s supply yard.

Captain King was in command of a unique vessel. When launched in 1888, the Governor Ames (named after Massachusetts governor Oliver Ames)  was the only five masted schooner in the world, and one of the largest cargo vessels afloat, grossing 1,600 tons and stretching 252 feet in length. She was also an expensive ship, costing $75,000. Her owners, the Atlantic Shipping Company of Somerset, Massachusetts, had built the Ames for short cargo runs up and down the Eastern Seaboard, as well as longer runs to South America. She was also swift, with a reputation of being “speedy and a good sea boat.”

Yet the Governor Ames got off to a bad start on her maiden voyage from Boston to Baltimore. In December 1888, she was dismasted off Cape Cod and ran aground on Georges Bank. As the wrecked ship groaned and wallowed in the Atlantic, the wet and shivering crew prayed for help before the Ames broke up. “Here we remained clearing up and waiting for assistance,” recounted J.F. Davis, the brother of the Ames’s captain. “Up to Sunday we saw but few vessels, and they passed at a distance. Sunday, the fishing schooner Ethel Maude of Gloucester ran up to us, and we made a bargain for a passage for myself and the two extra carpenters to Gloucester. The extent of the damage at the time I left the vessel was about $10,000 due to loss of spars.”

Miraculously, no lives were lost, and the maimed Ames did not break up. Help arrived, and she was re-floated and repaired by February of the following year. She departed New Haven, Connecticut for Buenos Aires, Argentina carrying 2,000,000 board feet of lumber, expected to sell for $15.50 per square foot. Three months later, she departed Portland, Maine, carrying a similar sized cargo of spruce, valued at nearly $30,000 and according to The New York Times, “the largest cargo, perhaps with one exception, ever taken by an American vessel.” Ill-luck continued to dog the Ames. She ran aground again in 1899, this time in the warm waters off Key West while en route from Philadelphia to Galveston. To refloat her, the crew had to throw 200 tons of coal overboard.  This time, she suffered minimal damage.

Governor Oliver Ames of Massachusetts (1831-1895), namesake of the schooner "Governor Ames." Source: Wikipedia.com
Governor Oliver Ames of Massachusetts (1831-1895), namesake of the schooner Governor Ames. Source: Wikipedia.com

After the Key West grounding, the curse on the Ames lifted. When Captain King guided his vessel up the stormy Atlantic Coast in December 1909, the Ames and been accident-free for almost a decade. She had even survived a few brutal trips around stormy Cape Horn, hauling New England lumber to Australia. Although the air was frigid and the iron seas menacing, this run to New York would be a routine trip by comparison to battling Cape Horn westerlies. The Governor Ames was a twenty year old veteran.

***

The sailing ship did not die out with the coming of the deep water steamer in the mid-19th century.  Well into the 1900s, soaring masts were a common sight along the Delaware River. Big, steam-powered craft did wipe out the clipper ships and North Atlantic packets on the ocean routes, but the versatile schooner remained popular for hauling  basic, low-cost bulk cargoes such as coal, timber, gravel, railroad ties, and ice, especially to and from smaller ports that did not have railroad access.

The name of this three-masted schooner depicted at Race Street and Delaware Avenue hast been lost to history.  There was little concept of tall ship “romance” when this photograph was taken. People took these ships for granted. It was only after the schooners vanished — supplanted first by the railroad and the Mack truck — did people lament their disappearance. As singer-songwriter Stan Rogers said about the Nova Scotian schooner Bluenose, she “knew hard work in her time. Hard work in every line.”

[youtube http://www.youtube.com/watch?v=mWUD_r6E4U8&w=480&h=360]
1930s footage of the Nova Scotia schooner “Bluenose” racing against her Gloucester, Massachusetts rival “Gertrude L. Thibault.” Set to the music of Stan Rogers.

A schooner has two or more masts, all of which are rigged with “fore-and-aft” sails.  The triangular sails allowed captains to sail their ships close to the wind, something that square riggers could not do.  They could also tack easily, making them maneuverable in coastal waters and remote ports. Most importantly, their lack of yards  — with exception of topsail schooners, which had one or two square sails on their foremasts — meant that the crew did not have to climb aloft to make or trim sail except in an emergency.  On a schooner, a crew almost always remained on deck to hoist and lower sail. By the late 19th century, steam-powered donkey engines on deck assisted the crews with the heavy-lifting on bigger schooners.

For the shipowner, the smaller crew drastically cut reduced a vessel’s operating cost.  For example: the big, square-rigged California clipper ships of the 1850s — the most famous of which was the Flying Cloud —  needed about 60 crew members to operate efficiently.  A comparably sized five masted schooner such as the Governor Ames of 1888, built for the lumber trade, required only 12 men to sail. Not having to buy and store coal for fuel also saved money, and freed up space for cargo.

For two centuries, the schooner was the served as the humble workhorse of the American mercantile marine, a common sight in big harbors and small ports all along the Eastern Seaboard.   They were relatively cheap to build out of abundant native timber, especially in Maine. According to naval historian Howard Chappelle, “in spite of the fact that ships and square riggers have monopolized certain important trades, such as the packet and East Indian, and though they handled large and valued cargoes individually, the total tonnage and value of such cargoes were small compared to that carried by the schooners engaged in the coasting and foreign trades.”

***

On December 25, 1909, as Philadelphians gathered in warm, pine-festooned churches to celebrate Christmas, a battered, badly-shaken Joseph Speering arrived in Philadelphia on the steamship Shawmut. He was the sole survivor of the Governor Ames, which had sunk off North Carolina’s Cape Hatteras in a gale twelve days earlier. He told the press that everyone else onboard had either been drowned or crushed to death by collapsing masts, including the captain’s wife, who the crew had lashed to the rigging in an attempt to protect her from the boiling seas crashing over the schooner’s bulwarks. As the Ames’s wooden keel bounced up and down against the rocky shoals, Speering jumped overboard and clung to a floating hatch cover. He then watched the Governor Ames break up and sink.

All alone, Speering clung to the hatch cover for over twelve hours before the crew of the passing Shawmut lowered a lifeboat and plucked him from the frigid seas.

Launch of the five masted schooner "Governor Ames" in Waldeboro, Maine. Source: Wikipedia.com
Launch of the five masted schooner Governor Ames in Waldeboro. Source: Wikipedia.com
The Governor Ames under sail. She was wrecked  Source: Wikipedia.com.
The Governor Ames under sail.  Source: Wikipedia.com.

Sources:

“A Big Lumber Schooner,” The New York Times, February 15, 1889.
http://query.nytimes.com/mem/archive-free/pdf?res=9F05E0D6153AE033A25755C1A9649C94689FD7CF

“The Five Masted Schooner Missing,” The Philadelphia North American, March 3, 1895.
http://query.nytimes.com/mem/archive-free/pdf?res=9905E3D61139E033A25750C0A9659C94649ED7CF

“A Large Cargo of Lumber,” The New York Times, April 30, 1889.
http://query.nytimes.com/mem/archive-free/pdf?res=9901E6D8123AE033A25752C0A9639C94689FD7CF

“An Unlucky Voyage: The New Schooner Governor Ames Badly Wrecked,” The New York Times, December 18, 1888.

Howard Irving Chapelle, The History of American Sailing Ships (New York, NY: Bonanza Books, 1935), p. 219.

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Behind the Scenes Events and People Historic Sites

Nicholas Biddle, Philadelphia Hellenophile

The Second Bank of the United States, 420 Chestnut Street, 1859.
The Second Bank of the United States, 420 Chestnut Street. A photograph from 1859.

Before he locked horns with President Andrew Jackson over the fate of the “many headed monster” (a.k.a. The Second Bank of the United States), banker Nicholas Biddle fancied himself something of a poet and aesthete.  Born to wealth and blessed with brilliance, Biddle graduated from Princeton University — at the head of his class — at the tender age of 15. This was only after the University of Pennsylvania refused to grant the Philadelphia wunderkind a bachelors degree a few years before.

The young Nicholas Biddle.
The young Nicholas Biddle.  Source: Abraham Lincoln Historical Digitalization Project.

Like John Quincy Adams, Biddle (1785-1844) was well-traveled from an early age.  In 1804, he accompanied the American minister John Armstrong to France as his personal secretary, and sat in the pews of Notre-Dame as Napoleon Bonaparte crowned himself Emperor of France.  In England, the dashing and probably cocky Nicholas had the gumption to verbally spar with University of Cambridge dons about the differences between ancient and modern Greek. Biddle’s sojourns were hardly unique. By the early 1800s, scores of Americans had visited Europe either as diplomats or merrymakers on the “Grand Tour.” Another Philadelphian, the late Dr. Benjamin Franklin, was still revered in France, where his bespectacled visage still adorned countless Parisian homes. John Quincy Adams had been as far afield as St. Petersburg, where he served as America’s first minister to Russia.

But Nicholas Biddle was only the second American to visit Greece, the birthplace of modern democracy. In May 1806, the young Philadelphian sailed from the Italian port of Trieste and landed in Zante, Greece. For three months, he roamed through the land which had been “the first brilliant object that met my infancy.”   Like many well-educated men of his time, Biddle supported Greece’s struggle for independence from the Ottoman Empire.  Another aristocratic man of letters, Lord Byron, died fighting with the Greek army twenty years after Biddle’s visit. Composer Ludwig van Beethoven wrote incidental music for August von Kotzebue’s 1811 play The Ruins of Athens for a performance in Budapest. Giovanni Battista Piranesi’s engravings of classical ruins were wildly popular in the late 18th and early 19th centuries, and inspired the Americans architects such as Thomas Jefferson and Benjamin Latrobe.

"Lord Byron in Albanian Dress," an 1813 painting by Thomas Phillips.
“Lord Byron in Albanian Dress,” an 1813 painting by Thomas Phillips. Source: Wikipedia.

Biddle, himself possessed of Byronic good looks, was conscious of the influence that Greek philosophers had on American political theorists.  “Where are her orators?” he wrote of the Greeks. “Gone forth to enlighten distant nation without a solitary ray for their country. Whilst foreign erudition has lighted its lamp at the flame of their genius, their works are unknown to posterity.”

As Biddle gazed at the ruins of the Acropolis in Athens, he came to believe that this architectural language was best suited to the ideals of new American Republic, which strangely like Greece was heavily based on chattel slavery. To Biddle, the best Greek buildings had an understated majesty. This was a result of their purity of form, use of the “Golden Ratio” of 1 to 1.618, and richness of materials over mere ornamentation.

The Doric Order as used on the Parthenon. The vertically grooved sections of the lintel are called triglyphs, while the blank portion are called metopes. The metopes usually were the backdrop for sculpture.   Source: Wikipedia.
The Doric Order as used on the Parthenon. The vertically grooved sections of the lintel are called triglyphs, while the blank portion are called metopes. The metopes usually were the backdrop for sculpture. Source: Wikipedia.

The Parthenon, commissioned by Pericles and designed by the architect Iktinos in the 5th century B.C., was built using the most “masculine” of the Greek orders: Doric.  In the Doric order, columns were massive and fluted, and topped by smooth flared capitals. The architrave – the stone lintel supported by the columns – was likewise spare, decorated with grooved triglyphs and metopes that mimicked earlier wooden post-and-lintel construction.  Because of its austerity, the Doric was the least popular order in neoclassical Western architecture, particularly in the churches and palaces that Biddle saw in France and Rome.  The other two orders, Ionic and Corinthian, were more elaborate and romantic in their aesthetic.  In the new American capital of Washington, D.C., architect William Thornton used the Corinthian order on the Capitol Building, while James Hoban used Ionic for his “presidential palace,” more popularly known as  the White House. But to Biddle, the Doric’s restraint appealed to his purest classical sensibilities, in which less was indeed more. And Doric was not tainted with associations with Imperial Rome and the European absolutist monarchies that followed it.

Piranesi's drawing of the Ionic order as used on the Roman temple of Portunus. Source: Wikipedia.
Piranesi’s drawing of the Ionic order as used on the Roman temple of Portunus. The Ionic order is used on the White House. Source: Wikipedia.
The Corinthian order, as used on the Pantheon in Rome. Source: Wikipedia.
The Corinthian order, as used on the Pantheon in Rome. The Corinthian order is used on the U.S. Capitol. Source: Wikipedia.

Biddle might have revered the ancient Greeks, but he was disgusted by the state of Athenian affairs in 1806.  He, like many Westerners, blamed Greece’s sorry state on the Turks.  The Parthenon was a victim of this long occupation.  In 1687, after having stood nearly intact for centuries, the Parthenon, which the Turks were using as an arsenal, was hit by a shell from Venetian guns.  Biddle gazed on the crumbling ruins with despair. “Are these few wretches, scarcely superior to the beasts whom they drive heedlessly over the ruins, are these men Athenians?” he wrote. “Where is their freedom?  Alas! This is the keenest stab of all. Bowed down by a foul oppression, the spirit of Athens has bent under slavery. The deliberations of her assemblies were once their laws; they now obey the orders of a distant master, and on the citadel itself, the protectress & the asylum of Grecian freedom, now sits a little Turkish despot to terrify & to command.”

[youtube http://www.youtube.com/watch?v=SUPAf7eEo0o&w=480&h=360]
Overture and chorus from “The Ruins of Athens” by Ludwig van Beethoven.

The ruined Parthenon in the 1830s, with a mosque built in the center.
The ruined Parthenon in the 1830s, with a mosque built in the center. Source: Wikipedia.

The “little Turkish despot” Biddle referred to was most likely not a man, but the small mosque that the Turks had built in the middle of the ruined Parthenon.

When Biddle returned to Philadelphia, he must have looked with dismay at the architecture of his own sober Quaker City.  Most of its buildings were of plain red brick with white wood trim, various versions of the British-influenced Georgian or the somewhat newer Roman-influenced Federal style. Over the coming years, as Biddle rapidly ascended local and national power structures, Biddle made it his mission to transform the City of Brotherly Love (φιλεω “to love” and αδελφος  “brother”)  into the Athens of America.  He founded and edited Port-Folio, the nation’s first literary magazine. Soon after he married the heiress Jane Craig, Biddle remodeled his country residence “Andalusia” on the Delaware River and his city home on the 700 block of Spruce Street in the Greek style.  When appointed as the head of the Second Bank of the United States, Biddle commissioned the architect William Strickland to build an adaptation of the Parthenon as its new home. Completed in 1824, it was made entirely of Pennsylvania blue marble.

The Nicholas Biddle house at 715 Spruce Street, on the left, in February 1959. It has since been restored to its full glory.
The Nicholas Biddle house at 715 Spruce Street, on the left, in February 1959.

 

Nicholas Biddle House at 715 Spruce Street in 1972, post restoration.

Nicholas Biddle’s mortal struggle with President Andrew Jackson is well-known, as is his hubristic fall from grace.  Yet the beautiful Greek-influenced buildings he commissioned in and around Philadelphia still grace his native city, which was once known as the Athens of America.

Sources:

William Harris, “The Golden Mean,” Humanities and Liberal Arts, Middlebury College.  http://community.middlebury.edu/~harris/Humanities/TheGoldenMean.html#refpoint4

R.A. McNeal, ed. Nicholas Biddle in Greece: The Journals and Letters (University Park, PA: The Pennsylvania State University Press, 1993), p.50, 219.

Categories
Behind the Scenes Historic Sites Neighborhoods Snapshots of History

“I Live the Life I Love” – Echoes from the Mask and Wig (Part II)

M and W 5.9.1962
The Mask and Wig Club at 310 S. Quince Street, May 9, 1962.

Note: this is a sequel to “Echoes from the Mask and Wig” published on May 2. 

Two weeks ago, I received a phone call from Don Fisher, who graduated from Penn in 1975 and was sort of a Tommy Lee Jones type: as an undergraduate, he balanced working on the Mask and Wig crew/ business staff with breaking through the opposing football team’s defensive line at Franklin Field.  The former president of Mask and Wig’s graduate club, he had read my piece “Echoes from the Mask and Wig,” and told me that he had more information about my step-grandfather Joe Follmann, who was pianist and music director for the collegiate song-and-dance troupe in the late 1920s.

“I believe Grandpa Joe was a scholarship student,” I told him. “And I know that today, the audition process for Mask and Wig is extremely difficult.”

“The Club was a lot harder to get into in those days,” Fisher told me. “And I will tell you this: he must have been hot stuff in his time.”

Untitled
The undergraduate members of the Mask and Wig Club, Joseph F. Follmann Jr. is in the center of the third row. The University of Pennsylvania Record, 1930. The Mask and Wig Club Archives.

Here’s what I did know: my grandfather  was an excellent pianist, equally at home playing Beethoven and jazz standards His parents were working class German-Americans from West Philadelphia — according to my mother (his step-daughter) his mother was a Bavarian Catholic and his father a Prussian Protestant who may have worked as a coal miner in his youth.  There’s a photograph in my parents’ house showing him around the age of 10, with long blonde hair and dressed in a sailor’s suit. He is standing at the knee of a grizzled looking old man reading a book —  most likely his own grandfather.

Grandpa Joe’s obsession with economy — served up with  stereotypical Teutonic severity  — continued into his adulthood, even after he had achieved financial stability.

Leaving the lights on in an empty room was a pet peeve.

Many of his fellow students at the Wharton School were being groomed for leadership in tightly-held businesses.  In those days, there were many such family concerns in Philadelphia, from manufacturers (Disston and Baldwin) to magazines (Curtis) to banks (Philadelphia Savings Fund Society) to railroads (the Pennsylvania).   In those heady years just before the stock market crash, Grandpa had no desk at a family business waiting for him after graduation.  Studying finance was a practical route; what he really wanted was to be a professional musician. Perhaps Grandpa was dreaming of following in the footsteps of Ted Weems, who had also graduated from West Philadelphia High and Penn seven years ahead of him and had cut a big figure in the American “collegiate” hot jazz scene during the booming Roaring Twenties.

Mask and Wig dorm undated
University of Pennsylvania quadrangle dormitories, designed by Cope and Stewardson, showing the Mask and Wig wing. 36th and Spruce Streets. undated.

The Mask and Wig — which so was so prosperous that it had donated money to build a quadrangle dormitory — was a particular preserve of the “Old Philadelphia” elite, who had the time and the funds to indulge in such musical skylarking.  Their show program books were chock full of advertisements from prominent — and now largely vanished — Philadelphia businesses. The clubhouse, a converted church a long trolley ride from campus, had been lavishly renovated by Philadelphia architect Wilson Eyre Jr. in the 1890s, and its first-floor bar adorned with murals by celebrated artist Maxfield Parrish.  In those days, one did not formally join the Mask and Wig Club until senior year,  after a year or two of working as a choral alternate…little more than a grunt. According to the show programs, Grandpa was listed as a choral alternate his sophomore and junior years, and he was not formally elected to full membership until his senior year.

Grandpa’s eagerness comes across in the photograph of The Mask and Wig undergraduate club in the 1930 University of Pennsylvania Record — amidst his stone-faced, bolt-upright compatriots, a fresh-faced Grandpa Joe looks alert as he leans jauntily to one side, his eyes sparkling.  His ears stick out from his head, just the way I remember them when he was older. He had made it, his hard work at the piano and at his composer’s desk had paid off, and he was proud.  He had been the music director and co-writer of that year’s show  John Faust, Ph.D, a comic spoof on the German legend popularized by Christopher Marlowe and Johann Wolfgang von Goethe.

faust cover
The program cover for “John Faust, Ph.D,” 1930. The Mask and Wig Club Archives.

This was a time when songs from Mask and Wig and other collegiate groups became national hits, covered by the likes of Benny Goodman, Tommy Dorsey, and Frank Sinatra.  Perhaps Grandpa hoped that one of his songs would hit the big time. Grandpa continued to contribute to the club well after graduation.  In fact, he contributed songs to Mask and Wig shows for the next two decades — most notably in the 1937  production Fifty/Fifty — and culminating in the show Doctor, Dear Doctor! of 1951.  By then, the Club’s roster of undergraduate members had diversified considerably from the blue-blooded old days. Grandpa conceived the book and produced the show,  basing it it on Jean-Baptiste Moliere’s 1666 play Le Médecin malgré lui (A Physician in Spite of Himself).  A photograph from the show’s program shows Grandpa Joe — looking a bit more as I knew him, balding and with more pronounced jowls — smiling with delight as he pours over a set of scenery mock ups with a colleague.

“You know those ancient bronze busts of Roman senators?”  my grandmother once said. “Well, he looks just like them.”

Click for Part III

Follmann show co writer 1951
Grandpa Joe (left) looking at scenery sketches for “Doctor, Dear Doctor.” The Mask and Wig Club Archives.

 

Categories
Behind the Scenes Historic Sites Snapshots of History

Echoes from the Mask and Wig Club

The Mask & Wig Club, 310 S. Quince Street, October 5, 1956.
The Mask & Wig Club, 310 S. Quince Street, October 5, 1958..

Many years ago, when I was helping my grandmother decide which records to donate to the New York Public Library from her extensive collection, I found a set of fragile shellac discs protected by  brown paper sleeves.  They were old dance records from the 1920s that had belonged to my grandfather Joseph Follmann Jr., who passed away in 1989.

The record of the 1927 production of "Hoot Mon."  Ujifusa family.
The record of the 1927 production of “Hoot Mon.” Ujifusa family.
A recording by the Mask & Wig pit orchestra of "I Live the Life I Love," probably with my grandfather conducting. Note the record label: the Pennsylvania Athletic Club Building is now the Parc Rittenhouse on the east side of Rittenhouse Square.  Ujifusa family.
A recording by the Mask & Wig pit orchestra of “I Live the Life I Love,” probably with my grandfather conducting. Note the record label: the Pennsylvania Athletic Club Building is now the Parc Rittenhouse on the east side of Rittenhouse Square. Ujifusa family.

These were 78s, and thus could fit only one song on a side.  The songs included “Say That You Love Me” by Fred Waring’s Pennsylvanians and “Old Man River” by Paul Whiteman and His Orchestra.  All were recorded at the Victor Studios in Camden, New Jersey.  Among them were two discs of songs from old Mask & Wig productions.

My grandmother had a 78 setting on her record player  — or as she called it, a “victrola.”  We put on a record of “Gems from ‘Hoot Mon,'” from the 39th annual production of the Mask & Wig Club, which included the foxtrot “We’ll Paddle Our Canoe” recorded by Nat Shilkret and the Victor Orchestra and the Mask & Wig Glee Chorus.  Then there was  “I Live the Life I Love” from a record labeled “50/50,” the name of the 1937 show. According to alumnus Don Fisher, my grandfather was credited as the conductor and rehearsal pianist — he loved the Club so much he came back seven years after graduation to assist with the show.

The sound was scratchy and thin, the voices high pitched and nasal.

We saved the records.

I was only ten when Grandpa died, yet I knew that he loved the Mask & Wig Club, that legendary theatrical troupe started by a group of University of Pennsylvania students in 1889 and whose song-and-dance antics have been delighting Philadelphia (and American) audiences ever since.  Among the group’s notable alumni was Bobby Troup, who composed the jazz standard “Route 66.”  

Among the pictures in my parents’ home is a photograph of Grandpa Joe seated with the West Philadelphia High School orchestra.  He was a pianist, so unlike the other members who are proudly holding their flutes, violins, and trumpets, he is sitting hands folded next to the portly, mustachioed conductor.  There is also a framed certificate of his election to the Club dated May 1, 1929, and his Club rosette sits in an old Penn shot glass.  “Made in France,” the rosette’s brass clasp reads.

West Philadelphia High School, 48th and Walnut Streets, from an architectural rendering date December 1910.
West Philadelphia High School, 48th and Walnut Streets, from an architectural rendering dated December 1910.

Grandpa served as music director of the Club his senior year, composing many of the songs and the pit band. In those days, the Club toured around the country in a special Pullman train, graciously provided by the Pennsylvania Railroad. He graduated from the Wharton School in 1930 with hopes of becoming a professional musician. According to family lore, he even played piano at the Folies Begere in Paris and recorded with dance bands such as Fred Waring and His Pennsylvanians, whose most famous song was “Collegiate,” a hot jazz riff on the carelessness of Roaring Twenties college life: “trousers, baggy, all our clothes look raggy, but we’re rough-and-ready. Yay. Rah Rah. Very, very, very, seldom in a hurry. Real collegiate are we.”

Members of the Mask & Wig Club rehearsing at 310 S. Quince Street in 1930, my grandfather's senior year.
Collegiate. Members of the Mask & Wig Club rehearsing at 310 S. Quince Street in 1930, my grandfather’s senior year. Source: Wikipedia.

Yet the life of a professional musician is always tough, and during the Depression it was nearly impossible to be  “seldom in a hurry” to make ends meet.  He went into the insurance business and married a stage actress, dividing his time between New York and Philadelphia.  He became close friends with a number of people in the Philadelphia arts scene through his involvement with the Hedgerow Theatre in Rose Valley, befriending actors such as Richard Basehart (who played Ishmael in the classic movie Moby Dick, starring Gregory Peck as Captain Ahab) and Eleanor “Siddy” Wilson (an actress and artistic polymath from the Wetherill paint family, who created abstract canvases well into her 90s).

Grandpa Joe lost his first wife to cancer in the 1950s, and took a cruise on the Holland-America liner Maasdam. It was onboard this ship that he met my grandmother, tragically widowed at a young age with two children — my uncle and mother. The two were married shortly afterward, and Grandpa Joe moved permanently to New Rochelle, New York.   Grandpa retired from his job as an insurance executive in the 1960s, taught as an adjunct at NYU’s Stern School of Business, wrote a few business books,  and continued to play the piano, both jazz and classical.

My brother Andrew and I spent a lot of time as young children at our grandparents’ Upper East Side apartment.  The piano was at the center of the living room, a 1926 Steinway that Grandma and Grandpa had purchased together. A two foot high statue of Beethoven, painted to look like bronze, sat on the piano case, along with two brass candlesticks.  Grandpa loved playing the Peter’s theme from Serge Prokofiev’s “Peter and the Wolf” for my brother and me, and we could not get enough of it. Sometimes, he would put my hands over his as he ran his fingers over the keys.

I never learned how to play.  I tried the oboe instead.  “That’s one difficult instrument,” Grandpa scoffed.  He was right.  After I had braces put on, I got lazy, stopped practicing, and that was the end of that.

In his early 80s, Grandpa Joe began suffering from memory problems.  One day, he sat down at the Steinway and started to play a piece he had composed many years ago, according to my grandmother a short “filler” piece for the Philadelphia Orchestra.  Yet he could not remember it.  My grandmother said he closed the piano, walked away, and never opened it again.  He died soon after from a heart attack.

The Mask & Wig records are now at my parents house, locked away in a case along with other records from Grandpa Joe’s extensive classical library that did not get donated to the New York Public Library.  Yet there is no turntable  to play them now, either at 33 or 78 RPM.

Beethoven is there too, standing with his arms folded amidst a forest of houseplants.  He did, after all, like taking afternoon walks in the Vienna woods.

Grandpa Joe's caricature at the Mask and Wig Club house, directly behind the piano in the ratskeller. Photograph by Steven Ujifusa.
Grandpa Joe’s caricature at the Mask and Wig Club house, directly behind the piano in the ratskeller. Photograph by Steven Ujifusa.

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Behind the Scenes Historic Sites Neighborhoods

Parkside Revisited (Again): A Look Inside 4230 Parkside Avenue

Note: the author has previously covered Parkside in “After the Fair” and “The Slifkin Family.”  A walk-through of the house with the author and University of Pennsylvania lecturer Hanley Bodek will be featured on an upcoming segment of WHYY’s Friday Arts

The 4200 block of Parkside Avenue, May 17, 1954.
The 4200 block of Parkside Avenue, May 27, 1954.

On the outside, the houses on the 4200 block of Parkside Avenue are grand indeed, a brick parade that marches proudly along West Fairmount Park. Their roofs are a jumble of scalloped and stepped gables topped by terra cotta urns and copper cornices. Their yellow Roman brick facades boast bow-front windows, latticed dormers, and terra cotta angel faces.  Alleyways are secured with high scrolled iron gates, possibly made by the workshop of Samuel Yellin.

Built in the 1880s and 1890s by brewer/developer Frederick August Poth, they were pitched towards Gilded Ages executives and factory managers, as well as prosperous business owners and professionals.  Some were probably occupied by the top leadership of F.A. Poth & Sons, who could commute to the brewery by taking the eastbound trolley across the Girard Avenue bridge. These homes were meant to impress and dazzle passers-by on foot, trolley, or coach.  Less was not more in those days.  And why not?   Philadelphia was one of the richest cities in the world in the 1890s, and many of the architectural, mechanical, and decorative features were made right here, in the self-proclaimed workshop of the world.  And these homes were located across the street from the site of the 1876 Centennial Expositions, one of the crowning events in Philadelphia’s history.

Poth must have taken a special interest in his Parkside development.  He sold his freestanding mansion at 33rd and Powelton to his daughter Mathilde and son-in-law Joseph Roesch, and moved with his wife into a brand-new mansion at 4130-40 Parkside Avenue.  He died there in 1905.

During the early 20th century, Parkside changed from an upper-class German-American neighborhood to a middle class Eastern European Jewish one. During the Depression, most of these big twin homes were divided into efficiency apartments and rooming houses, and lost most of their interior fixtures.  Yet at least one of these homes survives with its original floor plate and some of its interior detailing intact: 4230 Parkside Avenue, situated directly across from the Centennial Exposition’s Memorial Hall (now the Please Touch Museum).

The 4200 block of Parkside Avenue, May 27, 1954.
The 4200 block of Parkside Avenue, May 27, 1954.
IMG_1122
4230 Parkside Avenue. Note the polished granite columns. Photograph by Steven Ujifusa.

I recently got a look inside the house, thanks to the current owner.  It has been vacant for over a decade. The inside of the house is cavernous and musty, with soaring ten foot ceilings.  The walls, once wainscoted with dark stained paneling, are painted white or gray.   After passing through the front hallway, I marveled at the massive grand staircase, which rose three stories up through the center of the house.  The newel post was probably once topped with a finial, or even a bronze statue light fixture. The dining room, filled with wood scraps and other debris, can easily hold a table set for a dozen.   The second floor library, which faces the park,  still has its original shelves topped by carved cornices.  The bay window once had curved glass panes and sashes, now replaced by standard flat ones. Almost all of the massive wood mantelpieces, save the one in the basement butler’s pantry, had been yanked out years ago, leaving their outlines behind.  The brass fireplace grates and polychrome tiles remain, giving a hint of the fine craftsmanship that once graced these Parkside homes.   A pencil diagram, probably drawn by the carpenters who built the house 120 years ago, is still extant in the dining room.

The main staircase of 4230 Parkside Avenue.  It rises three stories. There are two other service staircases in the house, one of which has been floored over. Photograph by Steven Ujifusa.
The main staircase of 4230 Parkside Avenue. It rises three stories. There are two other service staircases in the house, one of which has been floored over. Photograph by Steven Ujifusa.
Pencil sketches once hidden by a mantelpiece (now stolen probably left by the construction crew that built this house in the late 1880s or early 1890s.  Photograph by Steven Ujifusa.
Pencil sketches once hidden by a mantelpiece (now stolen probably left by the construction crew that built this house in the late 1880s or early 1890s. Photograph by Steven Ujifusa.
The dining room. Photograph by Steven Ujifusa.
The dining room. Photograph by Steven Ujifusa.

The house’s layout is not completely intact. A previous owner had attempted to convert the mansion into a boarding house, adding shoddily-built bathrooms and partitions.  A piece of plywood covers over the archway between the foyer and the parlor, which originally was separated by sliding pocket doors.  A large, twisted chunk of pressed copper lies in the kitchen.  It originally came from the rear window bay, torn off by thieves scavenging the vacant house for scrap metal.  Squatters once stored drugs underneath floorboards and behind radiators.

Tile fireplace surround and brass grate in the front parlor. Photograph by Steven Ujifusa.
Tile fireplace surround and brass grate in the dining room. Photograph by Steven Ujifusa.

At 5,300 square feet, this was a house built for a very large family. There are six bedrooms, located on the second and third floors. The built-in armoires remain in place, as is some of the decorative plasterwork.  The window of the third floor front bedroom perfectly frames the Please Touch Museum.  A large cedar closet, located off the master bedroom, could have stored many wool suits with room to spare.

View from the third floor front bedroom, towards Memorial Hall, once the main building of the 1876 Centennial Exposition, later the Philadelphia Museum of Art, and now the Please Touch Museum
View from the third floor front bedroom, towards Memorial Hall, once the main building of the 1876 Centennial Exposition, later the Philadelphia Museum of Art, and now the Please Touch Museum
Built-in armoire in the master bedroom. Photograph by Steven Ujifusa
Built-in armoire in the master bedroom. Photograph by Steven Ujifusa

When Frederick Augustus Poth built 4320 Parkside Avenue, it was at the cutting edge of Victorian domestic technology.  One expert who has renovated many large homes in Fairmount described the house as equivalent to today’s Toll Brothers mansions, built for an aspirational and demanding clientele.  Although equipped with several gas fireplaces, the house was originally heated by steam radiators, powered by a hand-stoked coal boiler in the basement.  The house may have originally been piped for gas lighting, as electricity did not become widespread in American homes until the early 1900s.  With its flickering pale glow, gas lighting was an improvement over pre-Civil War whale oil candles. But houses such as 4230 Parkside were almost invariably dark and gloomy, with their stained paneling, overstuffed furniture, heavy drapery, and piles of curios and knick-knacks. Dust must have been a problem, especially for anyone with allergies.

Plaster moulding in the second floor library.  Photograph by Steven Ujifusa.
Plaster molding in the second floor library. Photograph by Steven Ujifusa.
The front parlor, full of debris. The window looks out on Parkside Avenue. Note the Delft-style tiles.
The front parlor, full of debris. The window looks out on Parkside Avenue. Note the Delft-style tiles.

In their fleeting glory days, these Parkside Avenue homes were Downton Abbey in miniature.  In Victorian Philadelphia, immigrant servant labor, usually Irish, was inexpensive and plentiful.  A house like 4230 Parkside would have a staff consisting of a cook, laundress, maid, governess, maybe even a butler.  They worked long hours, received only one weekday evening plus every other Sunday off, and received an average salary of $3.50 per week (about $45.00 today), well below the modern minimum wage.* They were quartered downstairs.  The butler’s pantry, accessed by a separate back staircase that is now floored over by a later bathroom addition, survives almost intact.  The kitchen, located at the rear of the first story, has lost all of its original fixtures except for the china cabinet and the lower half of its wall tiles.  The cook toiled over a mammoth coal fired iron range, which lacked the temperature controls we take for granted today.  The iceman would make frequent deliveries to restock the icebox.

The butler's pantry/servants' dining room, located in the basement. Photograph by Steven Ujifusa.
The butler’s pantry/servants’ dining room, located in the basement. Photograph by Steven Ujifusa.
China cabinets in the kitchen, located in the rear of the house on the first floor. Photograph by Steven Ujifusa.
China cabinets in the kitchen, located in the rear of the house on the first floor. Photograph by Steven Ujifusa.

The future of the house remains in question.  Two doors down, however, the owner of a nearly-identical house has recently completed a total restoration. The copper trim has all been renewed, the brick scrubbed, a new balastrade added to the front porch. He has even replaced the curved sashes and panes in the second floor bay windows.  The view of the park and the newly-restored Please Touch Museum from the new roofdeck must be spectacular.

Is this a harbinger of things to come?

*Glessner House Museum: http://www.glessnerhouse.org/Servants.htm

Roof details. Photograph by Steven Ujifusa.
Roof details. Note the stepped Dutch gables and the terra cotta corbel. Photograph by Steven Ujifusa.
Memorial Hall, built for the 1876 Centennial Exposition and now the Please Touch Museum.  Photographed on March 22, 1924, when it housed the Philadelphia Museum of Art.
Memorial Hall, built for the 1876 Centennial Exposition and now the Please Touch Museum. Photographed on March 22, 1924, when it housed the Philadelphia Museum of Art.

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Behind the Scenes Neighborhoods

Walking West Philly with Joe Washington (Part 2)

Police Station at 39th and Lancaster Avenue, across the street from Hawthorne Hall, June 21, 1933. Demolished.

Note: this is the second part of “Walking West Philly with Joe Washington.”  To read part one, click here

When Joe Washington was a young man in the 1970s, Hawthorne Hall was a gathering place for Powelton and Mantua.  Its second floor auditorium hosted dance parties and boxing matches. Now, the orange brickwork is battered. Chunks of the terracotta cornice have fallen to the pavement.  A few of its pressed tin oriel windows are painted hot pink.  Two nude figures — one male (Orpheus with his lyre) and one female (presumably Venus)– still adorn the facade.

Shabby, yes, but also potentially bohemian Victorian chic today. Unlike other large corner buildings in the area, like the old banks and movie palaces, it will not be replaced by a pharmacy or gas station. Owned by the People’s Emergency Center,  it still is partially occupied by shops and apartments.  Curtains hang at crazy angles in some of the windows. One has a bathroom scene painted in black and white.  Others are boarded up. The street level doors are plastered with stickers. Inside, the plaster is falling from the ceiling, exposing wood lathe. Last year, it was the site of a Hidden City art installation. Visitors walked through a set of rooms that were a surreal interpretation of a secret society, one of many which met in the building during the early twentieth century.

The Society of Pythagoras installation by the Rabid Hands art collective. Hawthorne Hall, June 2013.  Photography by Steven Ujifusa.
Society of Pythagoras installation by Rabid Hands art collective. Hawthorne Hall, June 2013. Photograph by Steven Ujifusa.

Across the street from Hawthorne Hall was the “Fake House,” an old industrial building that housed makeshift apartments for artists and counterculture activists.  In the 1980s, it was the site of many punk parties.  The Fake House was demolished last Christmas, and it is  being replaced by 22 luxury apartments. The residents had no lease. As the building came down, someone scrawled “F*k gentrification” on one of the exposed party walls.

***

As a young man in the 1960s, Joe saw an entire West Philadelphia neighborhood get destroyed. The Black Bottom was centered around 36th and Market.  The spidery frame of the Market Street Elevated cast a dark shadow over the shops and tenements.  Trains rattled by at all hours. When Joe was growing up  in Mantua, there was a notorious gang that took the name of the heart of the Black Bottom: 36th and Market.

“If you didn’t know those cats, there would be trouble,” he declared.

The intersection of 36th and Market, the heart of the “Black Bottom,” and the Market Street Elevated. May 17, 1950.

We walked down Lancaster Avenue in the rain, from Hawthorne Hall to the former crossroads of the Black Bottom. Joe waves his hand at the sleek office buildings at the intersection.   “All of these were once houses,” he said.  “All the people were displaced.” By the time replacement housing was built, most of the 15,000 or so former residents of the area had scattered to other neighborhoods. Southwest Philadelphia. Yeadon. Or New Jersey. Or they moved “up the way,” north of Market and further west to Haddington.

A wall mural on nearby Warren Street memorializes the Black Bottom. “Gone but not forgotten,” reads the lettering on a painted red heart. Each year, the Black Bottom Association hosts a reunion picnic in Fairmount Park, across from the Please Touch Museum. According to the Association, between 5,000 and 10,000 former residents and their descendants attend every August.  “Although poor in an economic sense,” states the event pamphlet, “the community was rich in mind, body, and spirit.”

Black Bottom memorial mural at 39th and Warren Street. Photograph by Steven Ujifusa.
The 2013 Black Bottom Association picnic in Fairmount Park. Photograph by Steven Ujifusa.
Urban horseback riding at the 2013 Black Bottom Association picnic. Click here to learn more about urban equestrianism in Philadelphia. Photograph by Steven Ujifusa.

Joe’s old neighborhood of Powelton-Mantua – a few blocks to the north of the Black Bottom — was largely spared from the mass-demolition. As he grew up, Joe realized that he had to look beyond employment in his old neighborhood to get ahead.  The factories were closing one by one.  Restaurants and other businesses, including his mother’s grocery store,  followed suit.  He got married in 1984 to his girlfriend Laura, who he had met as a 10th grader at West Philadelphia High School.  They moved to a new house at 142 North Wanamaker Street.  He worked at a warehouse in Trenton and as a bartender at the L&M Pub in Montgomery County.   By the early 1980s, as Joe remembered, West Philadelphia went from being rough to dangerous.  The culprit was crack-cocaine, which swept inner city neighborhoods with devastating force.  Not only would people do anything to get high — assault, prostitution, larceny — but the old street gangs such as the “36th and Market” went from wielding fists and knives to firing guns.

Street corner at 58th and Vine, near 142 N. Wanamaker Street, October 3, 1962.

The Fair Housing Act of 1968 finally outlawed redlining and blockbusting, but the damage was done.  Between 1970 and 1990, the city’s population plummeted from 2 million to 1.5 million, the greatest decline in its history. Housing stock — much of it dating to the late-19th century — was deteriorating. Industrial jobs were disappearing.  Many of the children and grandchildren of the Great Migration pioneers who arrived from Georgia, South Carolina, and Virginia got swept up in the addiction and the violence.  More houses went vacant, left behind by residents who had passed away, moved back South (where federal laws aimed at dismantling Jim Crow were finally taking effect), or were serving time in jail. Abandoned houses became dens for criminal activity.  It wasn’t just people in the community who bought dope, Joe remembered. Middle class and wealthy whites drove in from the suburbs to get their fix, too. Gun shots rang out at night.  Drug dealers loafed on Joe’s stoop, and refused to move.

“Arm yourself if you need to,” Joe said of the situation.

In the late 1970s, Joe got a break for a job in Center City. He got a call from his wife’s aunt Gloria Shannon, who was working on the staff of the Orpheus Club near Rittenhouse Square. Before long, Joe was tending bar at Monday night rehearsals of the oldest mens’ singing group in America.  Club president Geoffrey Dougherty brought Joe to his house in Valley Forge to tend bar, and he quickly became close with his wife Nancy and children Win, Lydia, Bromley, and Ted.  He also helped get Joe bartending jobs at his old Penn fraternity, Saint Anthony Hall,  and at the Fourth Street Club at 15th and Latimer.

263 S. Van Pelt Street, across from the Orpheus Club, 1969.

Joe Washington has worked at Orpheus for thirty years and tends bar at private parties all over town. He now lives with his wife at 61st and Vine, a few blocks north of the Market Street Elevated.  “Up the way” from the old neighborhood, as the former residents would say.  Joe believes the worst years of drugs and violence have passed.  “This new generation seems to have grown up,” he said. “They are more rooted in the community and are applying themselves, and there is less underage pregnancy.”  Starting in the 1990s, the city seized abandoned houses for back taxes, either selling them or tearing them down. After years of decline, new people are now moving into his neighborhood: immigrants from the Caribbean, Africa and South America, as well as more caucasian college students and young professionals.

Joe welcomes the influx of new arrivals. “West Philly hasn’t lost its soul,” he said with a smile as we parted at the intersection of 36th and Market. “It’s still a melting pot. It’s had its share of ups and downs. New people from all over are bringing a new vitality to it.”

Joe Washington in front of Hawthorne Hall. Photograph by Steven Ujifusa.

Categories
Behind the Scenes Neighborhoods

Walking West Philly with Joe Washington (Part 1)

Joe Washington in front of Hawthorne Hall, 38th and Spring Garden. Photograph by Steven Ujifusa.

“West Philly hasn’t lost its soul. It’s still a melting pot. It’s had its share of ups and downs. New people from all over are bringing a new vitality to it.”

Joe Washington and I met for lunch at the Hamilton Restaurant on the last day of winter.  It’s a narrow, old-fashioned diner at 40th and Market with formica counters, brown-stained paneling, and cracked vinyl stools.  A neighborhood fixture for decades, it is run by Asian immigrants.  The Market Street subway rumbles underneath.

Construction work on the Market Street subway at 40th and Market, November 26, 1950. Note the diners and the old-fashioned movie theater.

Joe Washington has worked as the bartender of the Orpheus Club since the late 1970s.  He has also tended bar at a University of Pennsylvania fraternity, and as a young man worked in construction. He and his wife now life at 61st and Arch, a few blocks north of the Market Street El.

I asked if he could tell me the story of his life in West Philly.

Like many African-Americans in the city, his grandparents moved to the city from the rural South during the early twentieth century.   Joe’s maternal grandmother Myrtle Tucker came from from Lynchburg in Southside Virginia.  She purchased a few Victorian homes on the 4100 block of Parkside Avenue, which she ran as rooming houses for single men.  Her daughter Marion helped with the cooking and the cleaning.  Myrtle also made some extra cash running a basement speakeasy. In the 1950s, she sold her rooming houses and returned to the “Possum Hollow” farm she had purchased back in Virginia.

41st and Parkside Avenue, looking east. April 29, 1952.

Marion stayed in Philadelphia, where she worked as a seamstress and cook.  She married ironworker George Washington — yes, Joe said kids teased his dad a lot about his name  — whose family had come from Macon, Georgia. George Washington made good money with Delaney Construction, but suffered from vertigo as he grew older.  So did many other ironworkers.  Joe thinks his dad may have gotten sick from the construction site fumes.   George then took a job at ground-level as a steamroller driver.  On one school trip to the Philadelphia Airport, young Joe — born in 1956 at the Presbyterian Hospital — recalled proudly pointing out his old man to his classmates, driving his steamroller along the freshly-paved tarmac.

A family stands outside of their home at 632 Hutton Street, not far from the 700 block of Brooklyn Street. July 30, 1960.

The Washingtons moved to a house at 736 Brooklyn Street, just south of Lancaster Avenue.  In the 1950s and 60s, there were scores of factories nearby that employed entire neighborhoods: Bond Bakery (bread), Fels-Naptha (soap), and the garment center at 57th and Chestnut.  Eateries such as the Hamilton Restaurant served hot meals to workers at the beginning and end of their shifts.  Yet as the 1960s continued, the factories either closed down or moved to where the labor was cheaper and taxes lower.

After we finished our cheeseburgers at Hamilton, Joe and I then walked north up 40th Street into Powelton, towards his childhood home on Brooklyn Street.  The neighborhood is a maze of small streets and trapezoidal lots.  Some houses are worn and grungy, missing porches, stoops, and mansard roofs.  A few are still abandoned, their windows and doors boarded up with moldy plywood.  Most of the homes however have been renovated recently, with crisply painted doors and repointed brickwork.  New residences are popping up in the once-weedy gaps.  The naked steel frame of a new addition to Penn Presbyterian Hospital looms above the rooftops.

Joe remembers how he played on these stoops with other children. “It was fun and vibrant,” he recalled. “People cared and watched each others kids.”  I ask him about the high rise housing projects, bordered by Lee Park several blocks to the west.  “I prefer living in a house,” he said. “Sometimes the elevator in one of those towers wouldn’t work.  As a kid, I carried bags up 18 floors to help out this one lady.”

The Homeowners Loan Corporation map of Philadelphia, 1936. Note how most of the neighborhoods in West Philadelphia north of Market Street have been “redlined.” The full effects of this policy would not be fully realized until after World War II. Source: Wikipedia Commons.

In the 1960s, this part of West Philadelphia was changing from an ethnic white area (German, Irish, and Jewish) to predominately African-American.  The city’s banks, working hand-in-glove with federal Homeowners Loan Corporation, had declared most of the housing stock north of Market Street to be “hazardous.”  This policy, known as “redlining,” meant that getting a mortgage or homeowners’ insurance was either impossible or exorbitant.  The result was “white flight” to tract-home suburbs such as Levittown.  In addition, the city was seizing large tracts of land for urban renewal by eminent domain.  One of the biggest redevelopment projects in Philadelphia was centered at 36th and Market, the heart of the so-called “Black Bottom” neighborhood.  And the city’s population was declining, falling from a peak of over 2 million in 1950 to 1.8 million by 1970.  According to Joe, it was not just white people leaving town.  Many African-American residents moved back down south or died off, leaving behind vacant houses that no one seemed to want.

Joe’s parents separated in the late 1960s. Marion Washington opened a grocery store at 42nd and Aspen. She rented  the space for “Miss Marion’s Store” from the Johnson family, who owned a supermarket just up Lancaster Avenue.  She made enough money to put her son Joe through St. Ignatius Catholic Elementary School. On Fridays and Saturdays, teenage Joe served up platters of BBQ ribs, chicken, cabbage, and string beans, which were a hit with the Powelton residents.  “We made $1,000 one day selling platters!” Joe said proudly.

801 N. 42nd Street, at Aspen Street. Miss Marion’s Store was located at this intersection in Mantua. March 24, 1961.

Yet he also remembered that the Johnsons were jealous of his mother’s success. A fire ripped through the store in the early 70s, soon after the landlords had installed newfangled aluminum wiring in the building. Joe’s mother opted not to rebuild.

We then walked north towards Lancaster Avenue and the hulking, curved brick facade of Hawthorne Hall.  Zara’s Bar and “Mighty Writers” occupy the first floor.  The upper stories, which include apartments and an auditorium, are partially abandoned.

“This building is in the Gray Area,” a sign hanging above the main entrance declares. “Gray Area is an experiment and public dialogue to encourage new ways of thinking about old buildings in Philadelphia and beyond. ”

“Oh, there were some great parties there back in the day!” Joe said.

Hawthorne Hall, 38th and Hamilton, c.1965.

 

 

 

 

Categories
Behind the Scenes Neighborhoods Urban Planning

Campus Clearance: A Look Inside UPenn’s Lost Houses

4045 Walnut Street, c.1955.

 

Apartment building on the corner of 40th and Locust, May 8, 1953. Demolished.

It’s hard to believe that before the 1960s, adaptive reuse was an alien concept to architects and city planners.  To universities, the planning ethos of “out with the old, in with the new” was especially potent.  Disciples of Le Corbusier and other modernists were in control of the University of Pennsylvania and American schools. The classical Beaux-Arts tradition as taught by Paul-Philipe Cret was largely replaced by the Bauhaus creed of Walter Gropius and Mies van der Rohe.  There was little interest in fixing up old buildings. They represented an unenlightened past — the gloomy “horse-and-buggy era” — out of sync with modern life, technology, and especially the automobile.

3910 Walnut Street, c.1955.
The former Comegy mansion at 4203 Walnut Street, photographed on April 20, 1959. Built originally in the 1850s as a streetcar suburban villa, a century later it was in the heart of inner-city West Philadelphia.

Hindsight is always twenty-twenty, of course.  As is nostalgia.  In Penn’s defense, the GI Bill and the general “opening up” of American universities to the sons and daughters of the middle class caused serious strain on the old campus infrastructure.  Once largely the preserve  of the sons of the wealthy, an Ivy League education in the 1950s was well within the reach of young men and women from middle income families.  Penn president Gaylord P. Harnwell realized that in order to satisfy growing demand for classrooms and beds, the Penn campus would have to expand upward and westward. He built the massive new Van Pelt Library, and closed the trolley lines that ran down the middle of Locust Street, creating a new pedestrian greenway through the center of campus known as Locust Walk.  Most importantly, Penn leveled the four blocks bounded by 38th, 40th, Spruce, and Walnut Streets, replacing them with three concrete high-rise skyscraper dormitories designed by Penn Design dean G. Holmes Perkins, as well as several low-rise student housing structures. All of these were surrounded by lawns and walkways.The clean lines and smooth surfaces of the International style represented something striking, modern, and optimistic, a break with the dreary years of the Great Depression and World War II.

The Professor Henry C. Lea mansion at 3903 Spruce Street, November 9.1967. Originally built in the 1860s, this Italianate house served as the suburban residence of Penn professor Henry Lea (1825-1912). After serving as a fraternity house, it was pulled down in 1967.
The former dining room of the Lea mansion, just prior to demolition in 1967.

 

Fraternity paddles in an upstairs bedroom of the Lea mansion, just prior to demolition, November 1967.
Interior plasterwork, the Henry C. Lea mansion, just prior to demolition in November 1967.

Most of the houses on these blocks dated to the mid-to-late 19th century, and were built for middle class, white collar commuters. There was also were truly grand suburban residences built for the Drexels and other wealthy families.  Few people saw these grungy old homes as having much architectural value in the 1960s: what had once been a fashionable suburb had become a slum to be cleared. Critics derided Victorian architecture as decadent, ugly, and functionally obsolete.  From a practical standpoint, the buildings were old and run down, serving as ad hoc classroom space, student housing, fraternity houses, low-rent apartments, retail, and restaurants.  Their electrical and plumbing systems were at the end of their useful lives.  There was also a human cost to this expansion: scores of families, mostly African-American renters, were displaced. In fact, Penn’s expansion ignited tension in the surrounding neighborhood that lasted for years.

The destruction wasn’t total. Penn adapted a few houses for new uses: the Eisenlohr mansion became the president’s residence, while the Fels mansion housed the Fels Institute of government.  Two of the Drexel family houses survive as fraternity houses, while the Potts mansion survives largely intact as the headquarters of the Penn Press. St. Mary’s Episcopal Church also escaped the bulldozer.  Yet almost every other structure came down to make way for the “Superblock,” which stands in stark contrast to Penn’s historic, compact campus to the east.

Miraculously, city photographers documented many of these homes before the wreckers arrived and smashed them to pieces. These photographs give a rare glimpse into these homes, which appear remarkably intact despite decades of neglect and alterations. During this mass demolition, scavengers picked through these homes, salvaging paneling, piping, leaded glass, and other examples of fine 19th century craftsmanship.  The carved wood and plasterwork dated from a time when labor was cheap and rich materials plentiful: solid walnut pocket doors, for example, were common in West Philadelphia houses.  After the Civil War, machines could cheaply churn out elaborately ornamented furniture and fittings that previously could only have been laboriously made by hand.

Much of what is seen here in these pre-demolition shots had been dismissed not only as out-of-date, but just plain hideous.  Who wanted a monstrous Frank Furness fireplace in their home, anyway?  Most of these houses were simply smashed to smithereens and hauled off to the nearest landfill.

The remarkably well-preserved library of the Comegy mansion in April 1959: the paneling is most likely either walnut or mahogany. It is doubtful that any of this fine 19th century craftsmanship survived the wrecker’s ball.
39th and Locust Street, looking east, February 11, 1930. The Drexel mansion on the left is still standing, while the Second Empire rowhouses on the right are gone, replaced by Harnwell College House, one of three skyscrapers designed by G. Holmes Perkins.

It took a new generation of urban pioneers, real estate investors, and preservationists to realize the aesthetic (as well financial) value of historic structures, no matter how tired, in urban areas such as West Philadelphia.

Categories
Behind the Scenes Historic Sites Neighborhoods Snapshots of History Urban Planning

The Carriage Houses of Van Pelt Street

247 and 249 S. Van Pelt Street, July 3, 1969. Ponies have given way to Porsches.

Two months ago, while giving a book talk at Bucknell University, I was fortunate to tour an actual working carriage house, attached to an 1840s brick mansion in the small town of Mifflinburg.  My host Karl Purnell had restored his family’s carriage house to its original condition and configuration. Within its walls were a horse named Mercedes and two antique carriages: a two-wheeled runabout and a six-seat surrey. The second story contained the hayloft — bales are hoisted up to this level by a set of block-and-tackle above the doors — as well as additional storage and quarters for the coachman.

Mifflinburg used to be known affectionately as “Buggytown” — during the late 19th century, the town was the largest manufacturer of carriages in the state of Pennsylvania.  The former William Heiss carriage works, one of the few intact carriage shops in the country, has been restored as the Mifflinburg Buggy Museum.  Amish farmers in the surrounding counties keep the tradition of carriage building alive, although obviously not in the flashy colors and trim of the 1860s and 70s.

Getting the horse and surrey ready for a ride took about half-an-hour.  First, Karl had to tack up the horse.  Then the two of us shoved the surrey out of the carriage house and turned it onto the street, using the mechanical brakes to keep the vehicle from rolling out of control.  Then Karl led the horse out of the stable and attached him to the carriage.  Then we were off, trotting down High Street.

Karl Purnell, the horse Mercedes, and his 1870s surrey, built in Mifflinburg, PA. April 4, 2013.  This house, with the carriage house in back, was similar in set-up to homes in early Philadelphia suburbs such as Germantown. Photograph by the author.

The short trip was a rare insight into 19th century life, when traveling anywhere — church, market, visiting relatives — was a significant undertaking and the instant gratification provided by a modern car was a foreign concept.  Compare all this work to pushing a button or turning the key, shifting into reverse, and backing the car out of the garage.  Then there’s caring for animals and finding parking…or a hitching post.

“The Fairman Rogers Four-in-Hand” by Thomas Eakins, 1879-1880. This is an iconic, world-famous image of Philadelphia during the horse-and-carriage era. The setting is Fairmount Park near today’s “Please Touch” Musem. Eakins meticulously studied and sketched the horses’ gait and physique before committing brush to canvas. Fairman Rogers, a long-time patron of Eakins, lived in a Frank Furness-designed mansion on West Rittenhouse Square, which was later occupied by Pennsylvania Railroad president Alexander Cassatt. Their horse-and-carriages may have been kept on Van Pelt Street.

In the late-19th century, the carriage works in Mifflinburg and other Pennsylvania towns supplied middle class and wealthy Philadelphians with their horse-drawn transportation. Companies such as Brewster, Wolfington, Fleetwood (later purchased by General Motors’s Cadillac division), William D. Rogers, D.M. Lane and Sons, and Heiss crafted a variety of colorful custom bodies using exquisite woods for the body, fine leather for seats, polished brass for the trim, and high-grade steel for the springs.  Shaping wood into wheel rims was particularly tricky: the wheelwright would have to steam the wood and then bend it over a “spoke turning lathe.”

In a congested urban area like late 19th century Rittenhouse Square, where real estate was at a premium, storing a horse and carriage was a logistical nightmare.  Unlike a car, horse and carriage could not be “parked” in an outdoor lot, but rather had to be stored indoors, usually in a structure apart from the main house. For the wealthy denizens of Rittenhouse Square, carriages were as much fashion as they were basic transportation — much like luxury automobiles today. On a typical Sunday in the 1880s, the parade of horseflesh and equipage on Walnut Street, in the words of Senator George Wharton Pepper, “made upon the onlooker an impression of urbanity, of social experience and of entire self-satisfaction. If during church-time they had confessed themselves miserable sinners, by the time they appeared on parade their restoration to divine favor was seemingly complete.”

By contrast, most 19th century Philadelphians either had to walk or pile into a horse-drawn omnibus, if they could afford the fare.  On hot summer days, the city reeked of horse excrement, and many people pressed flowers close to their noses in a futile effort to fight the stink.

Portrait of Berthe Morisot holding violets by Edouard Manet, 1872. Whether in Paris or Philadelphia, urbanites fought the stink of horse manure as best they could…

Van Pelt Street — a small, tree-lined alley located between Spruce, Locust, 21st and 22nd Street — is lined with several carriage houses once affiliated with the big townhouses along Spruce Street.  In a carriage house belonging to a well-to-do Rittenhouse Square household, the horses dwelled in stalls on the first story. Next to them was kept an assortment of carriages used according to the weather and the needs of the family: church, the opera, a picnic, house calls. The range of coach bodies available to potential buyers was bewildering:

  • Landau: a formal four-seater coach with a collapsible roof, pulled either by a pair or a four-in-hand. Appropriate for open-air city touring. Driven by a coachman. The curved landau roof bar would later find its way onto early motor cars.
  • Buggy: a two person carriage with either two or four wheels, and pulled by one horse. Usually driven by the owner.
  • Surrey: the ancestor to the modern station wagon or minivan. A four-wheeled box topped by a fringed-canopy, with 3-4 bench seats.  Driven by the coachman or owner.
  • Brougham: a two-passenger enclosed coach with four wheels. Driven by a coachman.  The namesake of the Cadillac “Fleetwood Broughams.”
  • Berlin: an enclosed four-person coach for foul-weather travel, pulled by a pair or a four-in-hand.  Driven by a coachman.

And so on.

To accommodate all of this coachwork and horseflesh, the carriage houses of Rittenhouse Square were quite large: two or three stories high, 20 feet wide, and 80 feet deep. Then there was all labor required to keep this urban menagerie in tip-top condition.  In addition to the coachman and grooms — who would feed the animals, maintain the carriages, and muck the stalls — a farrier frequently would visit to re-shoe the horses, crafting shoes to fit each individual hoof.

By the early 1900s, many of these carriage houses were converted into garages, housing cars like Mercedes, Wintons, Renaults, and Packards. The cars often had bodies with coach names such as phaeton and coupe. Coachmen were replaced with chauffeurs, who doubled as live-in mechanics. In the early 1900s, young men would race their family cars along the roads of Fairmount Park. Their clanking pistons and backfiring exhausts frequently scared horses out of their wits, causing them to bolt and run.  In response to this racket, the Fairmount Park Commission banned cars along the Wissahickon Creek between Germantown and Chestnut Hill.  Hence the name Forbidden Drive.  It remains a haven for pedestrians and equestrians to this day.

The carriage houses on Van Pelt Street were service buildings for the big townhouses like this on the 2100 block of Spruce Street. The kitchens were in the basement, and the servants lived in the dormer rooms in the attic. Irish domestics –often forbidden to speak Gaelic under their employer’s roofs — frequently referred to the neighborhood as “Rottenhouse Square.”

Today, Van Pelt Street’s carriage houses have been converted into private residences.  One serves as the clubhouse for the Orpheus Club of Philadelphia, the nation’s oldest male singing society.

The horses and carriages have long been exiled to the fields of Chester County, the grounds of the Devon Horse Show, and the roads of Lancaster County.

[youtube http://www.youtube.com/watch?v=jPEjTjU66Zw?rel=0&w=640&h=360]
Riding in the 1870s surrey owned by Karl H. Purnell, April 2013. Filmed with the 1920 setting of the 8 MM iPhone app.

[youtube http://www.youtube.com/watch?v=2oFzNDH9pOY?rel=0&w=640&h=360]
Don’t scare the horses! Footage of the 2009 London-to-Brighton Veteran Car Run, showing many of the 1890s and early 1900s automobiles that terrorized pedestrians and horses around Rittenhouse Square…these noisy and expensive “contraptions” led directly to the creation of Fairmount Park’s Forbidden Drive.

Sources:

“Wood Bending: Applied Mechanics in Wheel-Making,” Hub, November 1878, pp. 388-389. From: http://carriagemuseumlibrary.org/download/1128/docs/arts_WoodBending.pdf

Carriage Museum of America

http://carriagemuseumlibrary.org/carriage-types

Mifflinburg Buggy Musem

http://www.buggymuseum.org/