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COLN ROOM

UNIVERSITY OF ILLINOIS
LIBRARY

presented by

E5oS.&r

RESTORSTIDN OF FORD'S THEmE

(national archives)
Figure i. Last photograph of Abraham Lincoln, April lo, 1865, by Alexander Gardner.

FonFS

TBEmS

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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-

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.

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-

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

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.

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<Mk la K«« York, PbtU<l«lf4l^ Mi
BoitoB. bM piMwi b«T In tb« froal ruk of tWioa Oncvrt Hiuffn. *II1 Mk« km

I^First Appearance

In WubiK||Ma. U tba ■hor* Ma»d plH»,

TUESDAY EVG, JSTOV. 19.

Mm*. Amalie StrakoMh,
Sig. Centinwri,

Tb« Pftinoua BultotM,

Harry Sandenon,

Th« Tounc Am«rlcui Ptanlal.

Mrcfttr nwi Cm4w tir, Cari Sfkretaer

Progrramme— Part L

I. RcMAKKA— I d<M Vt»Mri Viau

Ms. Otntlmeil

■i. KatUMD MiToimi««D V. If . C»Ol-C«

■ms. AmelU StrakoMk.

3. PuHo Sola— PaaiuU fron Scmlnaad* Ho**!*)

HoniT latKlerwa.

4. OBJun> 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 mwmmw if ifhi %m»M%m

111 Ai.p.-aiaiH-,. L.llli' |-..|(l,i:,i..il A.'rr,—.. MISS.

LHCILLE WESTEKH

• — — — — — -.—.———-.—„■..,. - ..I i-__yju— ;

Thursday Evening, March 20th, 1862

Will U- j.r.-Tlcl l!..-*)..!!,.! M.l.ci

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.

(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.

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.

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-

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.

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-

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as per plat in ihis Office, and th« annexed Diagram^

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Surveyor of

Figure io. District Surveyor's Plat, May 5, 1866.

WasMngion,

(LINCOLN MUSEUM COLLECTION)

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.

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(national archives)

Figure i i. Original enrolled bill, HR 684, "An Act To Incorporate the Washington Theatre Company.'

willing to subscribe a sufficient amount to put
up such an edifice worthy of this capital.'"
On February 4, the bill was sent to the Senate
for concurrence.^" The next day it was referred
to the Senate Committee on the District of
Columbia "^ and on February 6 was reported out
of Committee without amendments by Senator
James W. Grimes of Iowa, the Committee Chair-
man.-- On February 9, final consideration was
given to the bill on the floor of the Senate. Sena-
tor James Harlan of Iowa said he saw no reason
for the incorporation of such a company through
legislative enactment because anyone could build
a theatre "under the laws that are now in force
in the District of Columbia without any special
law." -^ Subsequently the bill died on the floor
of the Senate as the 37th Congress ended and no
further action was taken on the measure.-*
Despite the failure of the bill to pass the Senate,
Ford went ahead with the construction of his new
theatre, financing the venture by borrowing and
through the sale of stock certificates.

Loans on the Property

On the same day that he had purchased a part
of Lot 11 (February 25, 1863), Ford executed a
deed of trust on the property to Bushrod W. Reed,
in return for a loan to help finance the new struc-
ture." In addition to paying $5,000 cash, Ford
also executed five notes of $1,000 each with vary-
ing maturity dates to members of the Board of
Trustees of the First Baptist Church, purchasing
the property in February 1863 to insure its control
by him.^*' During the construction of the theatre.
Ford, on May 27, 1863, executed a deed of trust
for a loan on the land in favor of Walter S. Cox.='

Sale of stock certificates
In April 1863, Ford began soliciting subscribers

^° Congressional Globe, op. cit., p. 697. Evening Star,
February 4, 1863.

" Congressional Globe, op. cit., p. 703.

•^ Ibid., p. 726.

■^ Ibid., p. 750.

"" Ibid. ,Pt. 3, p. 818.

-* Statement, Clerk of Senate Committee for the Dis-
trict of Columbia to Olszewski, March 1 , 1961.

* Title Papers, L.M.C., Item C-8.

^ The cancelled notes now form part of Title Papers,
L.M.C., Item9.

" Land Records, op. cit.. Liber N.C.T.-2, folio 435.

to purchase in $500 lots, shares of stock which
he issued on the theatre.-' The building cost was
estimated at the time at $75,000.^'* George W.
Small, one of the proprietors of the Holliday Street
Theatre, Baltimore, wrote a letter of recommenda-
tion about this time, attesting to Ford's manage-
ment of the Baltimore theatre and to his business
acumen in meeting his obligations promptly dur-
ing the past eight years of their association.^"
Undoubtedly, this testimonial aided Ford to raise
the necessary funds.

The stock certificates were titled: "FORD'S
THEATRE, WASHINGTON, D.C., A FIRST
CLASS STRUCTURE POSSESSING ALL THE
ACOUSTICAL & OPTICAL ADVANTAGES
OF AN ACADEMY OF MUSIC." Capacity was
stated to be 2,500 persons. The $500 which each
certificate represents was payable "at any time
within ten years from date. Interest was payable
annually." ^' Subscribers were entitled to free
admission to all dramatic performances to be
given in the theatre until payment of the debt
and interest.^^ Among the names of the original
subscribers which appeared on the stock certificates
were Maggie Mitchell, one of the leading come-
dians of the period; John F. Coyle, editor of the
National Intelligencer; and Henry Polkinhorn,
printer of Ford's Washington playbills. ^^ As some
of the certificates were re-dated August 1863, Sol-
lers believes that Ford may have sold more stock,
when the theatre was nearing completion, to meet
additional construction costs.'*

CONSTRUCTION OF FORD'S THEATRE

As pointed out earlier, since the original plans
for Ford's Theatre appear to be nonexistent, the
narrative and conclusions of this study are based
upon the most recent and exhaustive research
already mentioned plus personal observations,
numerous probings and examinations of the exist-
ing structure; the opinions, reports and profes-
sional observations of architects associated with

' Sollers, op. cit., p. 6.

' National Intelligencer, April 27, 1863.

' Sollers, op. cit.

' Ibid.

'I bid., p. 7.

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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.

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.

"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."

•'*>^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

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.

(photo by ABBIE ROWE)

Figure 15. Original wooden roof trusses stiil in use, Ford's Theatre, Augiast 1963.

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.

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.

(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.

(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.

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.

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.

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-

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.

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.

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.

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 0 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.

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)

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.

j^Dopr] Doot r

•OOR

_ looa j

f^&mf

ar«*— »•

*'r'\

^al»»»»**"'*"Tiia>W;^!j,j^,5Pjgj^^^

FOKDSNEWJUKATRK

»(C.

<ieaB.il

^Aa-

ii^ '- *'^^HNT.ro^«-

Figure 27

(harvard theatre collection)

commodated stoves for heating the theatre or
probably busts of theatre personalities."^ Recent
architectural exploration appears to confirm this
hypothesis.^^ Eight cast iron columns with
ornamental capitals supported the dress circle
and were arranged in a semi-circle about 1 1 feet
apart. They were located about 4 feet to the rear
of the outer edge of the balcony."^

Dress Circle

The lobby of the horseshoe-shaped dress circle,
reached by the stairway already described and
upon which the windows of the second floor of the
west facade opened, was approximately nine feet
in width and tweh e feet in height. The floor
was probably carpeted and descended stepwise
to the balcony rail the front of which was dec-
orated with an ornamental plaster applique.''^^

The dress circle seated about 422 persons in
movable wooden chairs with cane seats which
were somewhat similar in design to those in the
orchestra and parquet. The seating arrangement
was divided into five sections and lettered A
through E, left to right, respectively."^ The rows
of seats were arranged on concentric arcs with the
center of the arcs located on the east-west center-
line of the theatre from a point over the lower
floor orchestra.^^* The sections were separated by
four 2-foot 6-inch aisles. Access to the upper tier
of bo.xes was along the rear of the dress circle and
the aisles at the north and south walls.^^^ Iron
columns, placed directly above the ones on the

"'See Figure 27.

"° Dennin to Olszewski, passim.

"'Cf. Figures 28, 30, 31.

'" Ibid., Testimony, H. Clay Ford in Pitman, op. cit.,
passim. Clues as to the type of frieze on the dress
and family circle balconies have been deduced from
various contemporary catalogs of decorative moldings
and sheet metal work. See especially Catalog of Artistic
Steel Ceilings, 17th ed. (Chicago: Friedley and Vos-
hardt, 1904) ; and Sagendorff's Metal Ceiling and Side-
wall Finish Catalog, 20th Series, 1869-1893 (Phila-
delphia: Penn Iron Roof and Corugating Co., Ltd.,
\S93) , passim.

■^ See Figure 29.

'■' Dennin to Olszewski, October 25, 1961. See also n.
112.

^ Seat count verified from Figure 29 and statements
in contemporary newspaper reports.

first floor, supported the family circle."^ From
audience right of the dress circle, a 6-foot wide
double door with two risers descended into the
lounge, cloakroom, and rest rooms of the south
addition."'

Family Circle

The family circle was reached by a winding
stairway through the gallery door. The family
circle lobby was completely separate from the
orchestra and dress circle lobby. "^ A single usher
at the entrance door on the third floor collected
tickets."" A lobby, on which the third floor win-
dows of the west fagade opened, gave access to
the balcony benches. A rest room, which is con-
jectural, may have been located in the NW corner.
The floor, which was most probably uncarpeted,
descended by steps to the edge of the second bal-
cony rail. Seating capacity of the family circle
was about 600 persons. "Hard tickets" (25^
and 500) were used exclusively in the family cir-
cle."" All seats were high wooden benches but
were so arranged that the stage was visible from
any section of the family circle."^ There were no
reserved seats in this section of the theatre. The
balcony railing was set back about three feet from
the face of the dress circle to permit the carrying
out of the pilastered architectural efTect of the
upper boxes. A plaster applique, probably similar
to the one below on the face of the dress circle
railing but less ornate,"^ ran along the front of the
railing. Gas lighting fixtures, space about 2 feet
6 inches apart, ran the full length of the front edge
of the family circle railing."' On festive occa-
sions, canary bird cages were suspended from the
fixtures to provide special decor."*

'"See especially Figures 28, 30, 31 and 32 showing
these caps and columns.

^'Evening Star, February 21, 1865.

'"' H. Clay Ford, op. cit.

^ Testi7nony, John T. Ford, in Pitman, op. cit., pp.
102-104.

^^ Washington Post, June II, 1893. Statement,
George D. Ford to Olszewski, New York, Lambs Club,
Aprils, 1962.

'^'^ National Intelligencer, .August 26, 1863.

"= Cf. Figures 28, 30, 31 and 32.

"^ Ibid.

'^National Intelligencer, February 21, 1865, ibid.,
February 23, 1865, reports, "Even the canaries chirped
in time to the music."

Figure 28. View from stage of presidential box and general seating arrangements.

Figure ag

Figure 30. CloseUp of chairs in orchestra and dress circle.

Boxes

The boxes were arranged on both stage right
and stage left. The edges of the boxes were in
line with the drop curtain which was about 16
feet beyond the down stage edge of the orchestra
pit.''^'^ The boxes were arranged in two tiers, the
floors of the lower boxes being below stage level. ^^®
The upper boxes, being more elaborate and de-
sirable, gave an excellent and unobstructed view of
both stage and audience.'^' The lower boxes,
numbered 1 and 2, were on stage right, and boxes
3 and 4 were on stage left.^^ The upper boxes,
numbered 5 and 6, were on stage right. Boxes 7
and 8 at stage left were, when combined, known
as the "Presidential Box." ^^^ Entrance to the
lower boxes was from the orchestral level. The
upper boxes were reached by way of the dress
circle. Box patrons reached their seats by either
the north or south aisles.^*"

The fagade of the boxes was in elaborate neo-
classic design with fluted pilasters both half round
and square on each side of the upper portion.
The box enclosure was about 32 feet in height
from stage level to the cornice, serving overall as
the apparent support of the wooden proscenium."^
This arch extended over and above the forestage
and was about 39 feet high at its center."-
Two pilasters and a column with ornamental
capitals supported two stilted 15-foot high arches
enframing the upper boxes. "^ A molded en-
tablature supported the two-foot high balustrade
under the arches and enclosed the boxes. ^■'■' Be-
cause of the obvious interest which centers in the
presidential box, its description will be detailed
here since none of the other boxes could be en-

'•'" See Figures 37 and 43, "General view of stage
setting, Act III, Scene 2, OUR AMERICAN COUSIN,
April 14,1865."

'™ See Figures 32 and 34, showing details of the dec-
orations of the Presidential box and over-all architectural
details.

■" John T. Ford, op. cit.

^ See Figures 27 and 29.

'=• H. Clay Ford, J. J. Gifford, op. cit.

''"Ibid., and n. 140.

"' Cf. Figures 24 and 32. See also Figure 53.

'" Ibid., and Sollers, op. cit., p. 8.

'"Ibid.-

"* Cf. especially Figures 24 and 32.

larged. The general decor of wallpaper and
draperies, however, was similar for the upper boxes
on SR and SL.

The Presidential Box

As indicated, boxes 7 and 8 were known as the
"Presidential Box." It was entered by a four-foot
wide vestibule about ten feet long, opening off
the south aisle of the dress circle. Separate doors,
approximately 2/2 feet wide and 7 feet high,
opened into each box.'*^ The door to box 7 was
on the north side of the vestibule; that to box 8
faced east."'' A movable partition, about seven
feet high and 3 inches thick, normally separated
the boxes."^ The individual boxes usually ac-
commodated four persons each, but could also
hold six."* Box tickets cost $10 each and had to
be reserved in advance.^*^

When the presidential party attended Ford's
Theatre, the partition was removed and the two
boxes united into one.^^" At such times, addi-
tional furniture, usually a fancy tufted sofa and
rocker, was brought from H. Clay Ford's living
quarters on the third floor of the south addition
and placed therein."^ Fancy tufted chairs also
added to the decor.^^^ On these occasions, the
door on the north side of the vestibule, leading to
box 7, was usually locked because of the diverse
angular construction of the box. Entry to the
combined boxes was normally through the east
door to box 8.^°'

The interior was papered with a dark-red fig-
ured wallpaper as can be seen in the detailed
closeup of the presidential box in Figure 32. ^'*''
Yellow satin draperies overhung Nottingham lace
curtains and gave greater privacy. Over the

"=See Figure 33.

'" Ibid., and John T. Ford, J. J. GiflFord, op. cit.

"'H. Clay Ford in Peterson, op. cit., p. 120. The
partition can be seen, distinguished by its dark edge,
in Figure 34.

'" Ibid.

•" Ibid.

""" Ibid.

"' Ibid.

■" Ibid.

"^ Ibid., and Figure 37. The original door to box
7 is in the Lincoln Museum. See Figure 33.

""Ibid.

Figure 31. Closeup of seating arrangements in dress circle and benches of family circle.

draperies, as can be dimly seen in the contemporary
painting of the inside of the presidential box by
Chas. Gulager, a valance most probably hung.
The contemporary sketch by A. Berghaus shows
the probable design of the Turkish carpeting and
provides some additional details about the furni-
ture."' Soft illumination reached the interior
from a chandelier suspended about 12 feet from
a cantilevered beam centered over the top of the
box. This chandelier extended out about four
feet at right angles from a point directly on top of
the cornice and hung directly in front of the center
of the two arches enframing the box."'

Auditorium

The auditorium was painted white with gold
trim throughout. Ornamental plaster work and
mouldings divided the wall areas into large
well-proportioned panels."' Hose attachments
throughout the theatre provided precaution
against possible fire hazards."* One of the prin-
cipal features of the auditorium was an elaborately
painted and decorated, inverted, saucer-shaped
dome which undoubtedly provided additional light
and ventilation.^^'

Orchestra pit

The orchestra pit was bow-shaped and about
four feet wide at stage center. The pit then nar-
rowed somewhat at stage left and stage right.^*"
Directly under the foodights, the pit was entered
by two narrow doorways about two feet six inches
in width.'"^ Its floor was probably about 18
inches lower than the level of the orchestra floor.^"^
The pit appears to have been of sufficient propor-

"^ See Figures 36 and 55. Note especially notations
identifying color of drapes and types of curtains ; seating
arrangement of the theatre, and doors to presidential
box and orchestra pit.

™Cf. Figures 32 and 43.

^" Ibid., and Sellers, op. cit., p. 10.

™ National Intelligencer, passim.

"• Sollcrs, op. cit., p. 10. The Brady photo, Figure 32
and the Berghaus sketch, Figui-e 24, give corroborating
evidence of these details.

""Cf. Figures 24, 31 and 35.

'" Ibid.

"" Determined by the logic of sightlincs, Dennin to
Olszewski, May 6, 1962.

tions to permit an orchestra of sufficient size to
meet the requirements of the production."'

Stage

The stage was approximately 45 feet deep from
downstage center to upstage at the rear wall and
about 62.5 feet wide across the backstage. The
stage house was about 44 feet in height. The
proscenium was about 36 feet in height at the
curtain line and spread to a width of 38 feet
at the box facades. The forestage was covered
with green baize carpeting and was about 17 feet
from the edge of downstage center to the curtain
line.^'* A drop curtain, upon which was painted
a landscape and a bust of Shakespeare, was raised
and lowered by two flymen on the fly-galleries
located three-and-a-half stories above the stage."'

"" Contemporary newspaper accounts, especially the
National Intelligencer and the Evening Star, August
1863 to April 1865, passim. Although little was hereto-
fore known of the composition of the orchestra, the
names of the following musicians have come to light:
William Withers, Jr., leader and 1st violin; his brother,
Reuben Withers, 2nd violin; Isaac S. Bradley, violin;
Wm. Musgine, violoncello; George M. Arth, bass violin;
and Louis Weber, bass violin. There were also bells,
timpani, trangle and drums in the orchestra. Scipio
Grillo, part-owner of the Star Saloon, also played at the
theatre, although his instrument is not identified. H. B.
Phillips wrote the lyrics and Withers composed the music
to the song "Honor To Our Soldiers," which was to be
sung in Lincoln's honor on April 14, 1865. Laura Kcene
loaned her Chickering piano to Ford for the singing of
the song. Wm. Withers, Jr. taught Tad, Lincoln's favor-
ite son, to play the drums. Withers also composed much
of the standard repertoire of the orchestra, including the
"Laura Waltz" among others. Some of the more impor-
tant sources of the foregoing information are: Letters,
Mrs. C. Forster (Bradley's daughter), Anderson, Indiana,
June 17, 1961 ; Mrs. Gertrude Rodrigue (Withers' sister),
Greenwich, Conn., August 15, 1961, to Colonel Randle
B. Truett, Chief Park Historian, N.C.P. ; Letters, Matt
Dennis, Beverly Hills, Calif., May to August 1961 ;
Statement, Mel Clement; Miss Hazel Arth (grandniece
of George M. Arth), Washington, March 12, 1962;
Letter and photo of Laura Keene's piano, J. B. Hendryx,
Adv. Mgr., Aeolian American Corporation, East Roches-
ter, N.Y., July 5, 1961, to Olszewski. Boston Transcript,
June 15, 1898. Brady photo, Figure 35, shows part of
the orchestra pit.

""Figure 24; n. 112.

'"Ibid., especially Statement of Joe Simms, April 19,
1865, and "Examination before Justice Olin of John
Miles, April 15, 1865." L.A.S. file.

(ILLINOIS STATE HISTORICAL LIBRARY)

Figure 32. Architectural details of presidential box and interior of Ford's Theatre, April 1865.

To the rear of the drop curtain was the elaborate
main curtain. ^"^ Four sets of five lines each ap-
pear at stage-right and stage-left, probably to
indicate the position of scenery flats.^"^ The
central scenes were lowered from the fly gal-
leries.^^ Stage lighting was provided by 17 gas
lights enclosed by sconces to shade them as foot-
lights.^'^'' Stage and house lights were controlled
by a governor housed to the rear of the boxes on
stage-right."" The prompter's table stood at
stage-right concealed by the edge of the
proscenium."^ A speaking tube, connecting the
stage manager with the orchestra leader in the pit
below stage, was located at the prompter's table.'"

A three-foot wide stage door in the south wall
led from the Tenth Street passageway into the
theatre on stage-left.'" Opposite the wings on
stage-left, a passageway led from the basement
stairs to the stage door."* In the southeast corner
was a two-foot wide stairway along the south wall
which led to the basement."^ This stairway also
provided access to the orchestra pit and unhind-
ered passageway from stage-right to stage-left
through the basement and by the stairs along the
north wall, to the small exit door at the rear
alley."* This door was about 3 feet by 7 feet and
opened inward.'" Trapdoors covered both stair-
ways.'™

The passageway on stage-right varied in width
according to the manner in which the scenery was
piled along the north wall to the rear door.'"
Generally this passageway was kept clear to pro-

"»See Figures 32 and 43.

"" Figure 37.

"* James Lamb, Joe Simms, John Miles, op. cit.,
passim.

'»»See Figures 32 and 43.

'™Gifford, op. cit.

^" John T. Ford and Gifford testimony in Surratt Trial,
op. cit., passim.

"' Sellers, op. cit., p. 9.

™ Ford, op. cit. See Figures 25 and 44. Note also
Debonay's testimony, op. cit.

"* Ibid.

'" See Figures 25 and 44; Debonay, op. cit.

'"" Ibid.

''"Ibid., and Figure 21. "Examination of Joseph R.
Stewart before Justice Olin of the Supreme Court, D.C.,
April 15, 1865." L.A.S. file.

"' Testimony of Wm. Withers, Jr., Surratt Trial, op.
cit., p. 104.

'■'Figure 37. GifTord testimony, op. cit.

vide for an orderly movement of stage scenery and
for the unencumbered entrance and exit of actors
awaiting their cues in the adjoining greenroom
in the north wing.'^" A 3 by 8 foot door con-
nected the north wing and the stage.'*'

The stage machinery was operated from the
flies. Standard scenery, special effects and drops
were controlled by ropes, pulleys, and sandbag
counter-weights.'®^ The paint bridge was about
1 1 feet above the flies and extended across the
rear of the theatre."' A carpenter shop was
on the fourth floor of the north wing. It probably
opened onto a platform from which one flight of
steps ran up to the paint bridge and another ran
down to the fly gallery at stage-right.'®* About
40 to 50 eighty-foot lengths of hemp border ropes
were fastened to the pin rails and released as re-
quired to raise and lower the scenery.'®' Two
windows in the rear wall of the theatre, one on
stage-right, the other on stage-left, opened off
the fly galleries. They were about on the same
level with the windows on the third floor level of
the north wing.'®''

Basement

The basement of the theatre was excavated from
the east wall to the front edge of the stage.'®' Its
maximum width was about 44 feet 6 inches east
to west and 64 feet north to south.'®^ Brick arches
may have supported the stage and boxes. The
portions of the first floor of the theatre which
were not under the stage rested directly on bare
earth.'®" The two stairways, already described,
were located in the northeast and southeast cor-
ners of the theatre as shown on the drawing bear-
ing the name of "Jno T. Ford." '«>

'"" 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-

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.

(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.

Figure 35. Closeup of stage center by M. Brady, showing part of orchestra pit.

(nationai- archives)

(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.

^^^ ,

..4-

it**'^

»*•"-

(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.

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

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.

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

Tenth sr&E.B.y. abovk b.

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

JOHN DTOTT and HARRY HAWK.

TOM TAYLOR'S CELEBRATED ECCENTRIC DOMED?,

Oim AMVAUCAN '

FLORENCE TBEKCHARD MISS L

AORA KEENE

PATWpTiC SONTG AND CHORUS "

'HOKORTO OCH SOI.I>IIbs."

tlATTUIMl ItrJJJi

BENEFITof Miss JENNIE GOIIRLAY

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.

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.

4t -^-t
Figure 42. Closeup of typical poster of Ford's Theatre, April 1865.

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-

»>w.av« '■ • •• • j

" ^ ^ ^

(MARYt_AND HISTORICAL SOCIETY)

Figure 44. Original pencil sketch by Jno. T. Ford while in Capital Prison,

May 1865.

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

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.

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-

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^\ 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.

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//,^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.

(LINCOLN NATIONAL LIFE FOUNDATION)

Figure 48. Early phase of remodeling Ford's Theatre by Richard Dunbar, c. September 1865.

ARCHITECTURAL DATA

Prepared Under the Technical Supervision of

Charles W. Lessig

Chief, Division of Architecture

National Capital Office

Design and Construction

William A. Dennin

Supervisory Architect

National Capital Region

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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.

; '^ 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.

A-

vfliirt Ojuartfrmastfr's (Office.

Depot of Washmgton. D C

Aiiifii^i nil. I— ««.-.

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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<h' -. turi.cl from 1 t infli \v.ill-. »iili |ir"jvr-ii..ii. iiii'Irr | -. ..■

-h'lWIi oil |jliiti. Tllf ljitji«'Iii'-n1 wall- lo rol nn ill-- imtiirnl t-ardi, aii'l t'l liiiYr ii rmiUIip 1 >* iln-ln- wiilr. r. iiii-li- -
1h-Iiiw lliL- Mirfaci! ofrt-Ilar-

Wln-rr- till- gr<>uii<l slMjifs. til'- fituii'hiti..ii !■. I" in t- \. I -t. j.-

Thf K-C'.n'l anil tliinl flnor:. to 111- -tii-i-Mrlt'l l.y 4.1 iii'l' all lie-- tftwii-il till- I'l-i'iii- 'I''!- M"

llii- ari'li(->9 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-<l linvs-

Thf lir-l- «-i-'in.l an-I tliinl Aooph lii hi- l.avr.I witii tin- hi--t n-'l ;.avinp Iirii-k-.- laiil in .■■■inoiit
All Ih.- l.rii-ki! in walls anil arehi-» ti> 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<ki-t- at th.- lower end of tli - .-'.luinns and in the hottoin of tin- ahaeus, unil the projections <»n Ih,-

upper ends of the eolunins, ami the |.i..ji .tio he Led plate- to l-c turinsl. in order to insure n wHid hearing

Tlin-e iron d.K.rs to cut ..II the -id., hiilldings- Th.se .|.,or. to he ina.lc of l,.dh-r ir..ii. .,ii -iiitahl.- fra

Three iron .I.i'T fniims. Two iron sills, with ri-er-, for the front duors-
All Ih.' roll.-l lj.aui- and gipler- lo he of the rieenisvill.' make.

A -kyligl.t- liii'.'ii I'll- on roof; -ash of iron - gla- ; ..f an im-h ll.i.k ; .a.-h li-.-l.t liv.- f.-. 1 l..ng l.y I l'".i
I inch"- wl'h

M I .-^ t' K I. I. .\ .N I-: I) r .S.
Hag/ing not I.- ihan '.i f.et wi'l". with i.ne . .Ige dr.— rl an.l tlilekn.'-"l log., ar-.uml ..p.-uing in the
.i-nt.rs .sf the :id and ;j.l floor-, an.l aroun.l well li.^l.-s of the slairway-

T.. make ami put up all tin- iiecc.-.-ary irculeriiig, ami I., clear away all rul.l.i-li fr.un Is.lh in-iili- -niul out-
-id.: of till! hiiihiing.

The tlovernment t.. put in the will'low frame-, anil to dn all pl:i-t.riug and paiiillnL'.

Th.' work 10 1..' .l.iiic in the h.st maiim-r I tlm niat.'riak to I..' ..f the l....t .|uality

Th. work 1.. 1..' .1. uii.l.-r ih.- .up.-rvi-i.in ..f tlie Anliil'ct of li.e Ileparlmenl and -uhji-ct lo his approval.

., D- H. RDCKER,

.A'^""'' ^^^•- .^^^^:^^wo.

(national archives)
Figure 50. (Contract for remodeling Ford's Theatre by Richard Dunbar, August 4, 1865.

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unexcavated earth under the fiont part of the
theatre, that is, the portion under the orchestra,
parquet circle and lobby. The footings, columns
and piers shown on the basement plan probably
were originally arranged in this manner to sup-
port the features shown on the 1865 plans and
photographs.^ Unfortunately there is no proof of
this arrangement since the original architectural
plans have not been found to date. Furthermore,
all vestiges of the condition of the original base-
ment were removed by the construction contrac-
tor, Richard Dunbar of New York City, in 1865,
when he prepared supports for the remodeled
three story interior which transformed the theatre
into an office building.^

The 1865 photographs also show what appears
to be vertical boards across the front of the under-
stage and over the understage retaining wall on
the orchestra side. Perhaps this could be in-
terpreted as meaning that there was a stud frame
wall resting on the masonry retaining wall on
which to nail the vertical boards. The doors in
the understage front wall are also shown on these
1865 photographs.'

GROUND FLOOR PLAN

According to a diagrammatic ticket sales plan
lithographed in 1863,* the seating arrangement of
the theatre was located symmetrically on either
side of a longitudinal centerline through the build-
ing. After several trial and error attempts, it was
found that the most logical seating arrangement
which matched the most points of reference in
1865 photographs fell into a precise geometrical
pattern.** This pattern fitted neatly into a space

^ Numerous photographs made in April and May 1865
by the famous Civil War photographer, Mathew P. Brady
and his assistants, show many architectural details of the
interior and exterior of Ford's Theatre. They are of
exceptionally fine quality for this early period and clearly
show much of the desired architectural detail. Copies
af these photographs have been obtained from the fol-
lowing sources: (a) Library of Congress, Washington,
D.C., (b) Illinois State Historical Library, Springfield,
[llinois, (c) U.S. Army Signal Corps, Brady Collection,
National Archives, Washington, D.C., and (d) Region
VI, N.P.S., L.M.C. and F.T.C.

°See n. 1.

' See n. 5d.

' See Figures 27 and 29.

"See n. 5.

that coincided with certain references to the seven-
foot wide Tenth Street lobby,^" and to a doorway
which provided access to the stage directly behind
the boxes in the south wall. The existing plaster
on the wall at this location has been removed and
the bricked up opening of the door has been
found. ^' The seating alignment was determined
by locating these two features in their precise posi-
tion and then sliding the symmetrically balanced
seating arrangement east and west along the cen-
terline of the plan until the seating plan fit into
only one suitable position according to the images
on the available photographs.^^

A railing separated the orchestra seats from the
orchestra pit.'^ Gas foot lights with sconces were
located above the orchestra pit along the front
edge of the stage.^*

The measurements of the private boxes were
obtained from a sketch plan that was made by
an U.S. army officer for use at the military trial
of the conspirators." These measurements coin-
cided with the geometrical seating plan and cor-
responded with numerous references to the 1865

" Trial of John H. Surratt in the Criminal Court for
the District of Columbia, I (Washington: French &
Richardson, 1867), 560, referred to hereafter as 5'urraM'j
Trial. During the trial Giflford testified as follows: Q.
By a Juror. How wide is the space between the outer
wall of the theatre and the wall on which the clock
was? A. The width of the vestibule (lobby), which was
about seven feet; and the wall was three feet thick.
(The Tenth Street Wall. The clock was mounted on the
inside wall.) Q. By Mr. Merrick: Give the general
dimensions, all round, of that vestibule (lobby). A.
I suppose the length of the vestibule was in the neighbor-
hood of thirty or thirty-two feet. ... It was about seven
feet wide as you entered ... in the centre.

The foregoing statements mean that the lobby was
wider on the ends than at the center. They also help
determine the length and width of the lobby and the
location of the clock. These dimensions check well
with the spaces on the new reconstructed plans.

"See n. 2.

"See n. 5.

" Ibid.

" Frank Leslie's Illustrated Weekly, May 20, 1865.

'^ Measurements of the boxes and stage and a plan
supporting these measurements was made by Lt. Simon
P. Currier by order of Colonel Timothy Ingraham,
Provost Marshall, General Defenses North of Potomac,
on April 24, 1865. The report and diagram of the stage
were used during the trial of the conspirators. Original
in R.G. 153, N.A., Exhibit 48. See also n. 32.

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Figure 5 1 . Proposal of Architect of Capitol for strengthening west facade of Ford's Theatre, August 4, 1 866.

photographs." In this sketch plan, however, the
front of the stage was shown curving the wrong
way, that is, in toward the back of the stage in-
stead of out toward the audience. ''

A four-foot wide passage provided access to the
theatre stage from Tenth Street through the door
farthest north on the west elevation of the south
addition. The passageway was neatly paved,
boarded and papered. It ran along the south
wall of the theatre and along the north side of
Taltavul's combined restaurant and saloon to a
glass windowed stage door.'^ Another door in the
south wall of this passageway led directly into
the saloon.^"

^"Ihid. and n. 5.

"Ben Perley Poore (ed.). The Conspiracy Trial for
the Murder of the President, I (Boston: J. E. Tilton &
Co., 1865-1866), 463, citing testimony given by Gifford,
says: "This line on the stage curves out. It is just the
reverse of what the gentleman who drew this has in-
tended for it."

^" Daily National Intelligencer, April 18, 1865.

" Louis J. Carland stated in his testimony given in
Surratt's Trial, I, 571, the following in answer to ques-
tioning by Counsel J. H. Bradley: Q. When you went
into this saloon (Taltavul's Star Saloon) did you see
anything of Mr. Booth? A. Mr. Booth was just going
out of the front door as we entered through the side door.
(The location of a door in the north wall of the saloon,
connecting it with the passageway, appears to be clearly
indicated.) Q. How long did you remain in the saloon?

The new ground floor plan of the south addi-
tion was made from several original sources which
include: photographs from 1865,"° photos of scars
shown on the south wall of the theatre when the
south addition was demolished in 1930,-^ Lt. John
S. Sewell's drawings of 1893,-^ court testimonials
and biographical novels. An outside stairway
led from the ground floor to the second floor rear
of the south addition. ^^

The door to the ticket office was located just
inside of doorway No. 5, according to testimony

A. Until we had our drink . . . (then) we passed out
at the front door and stood at the back door of
the entrance where the attaches of the theatre go
in. . . . Mr. Gifford and I stood at first a little nearer
the back door, near the private entrance (the door in
the north wall of the saloon ) . ( Garland's statements also
appear to refer to a second door, or an airlock, inside
of the front door of the passageway leading from Tenth
Street.) Then we moved more out on the sidewalk
up to the carriage platform that was in front of the
theatre." Alexander Gardner's photograph shows this
platform. See n. 20.

"° Photograph by Alexander Gardner.

^ Post-Civil War photographs, L.M.C.

-On July 25, 1894, Addtl. 2d Lt. John S. Sewell,
C.E., prepared a report of progress being made on the
repairs to the Ford Theatre Building for Colonel John
M. Wilson, C.E., in charge of Public Buildings and
Grounds. Original in R.G. 42; N-.A.

^ Bryan, op cit., p. 170.

Figure 52. Interior of Ford's Theatre building after partial collapse in 1893, showing inside view of original casement

windows and unexcavated basement.

/ { u. tc ^-^x^f fi itu^ (^ t/<z. ''V^^-Tt, /v ■ ri^i y^ a-'

C--*-C^<.-«, I

(maryi-and historical society)

Figure 53. Ford's original memo requesting permission to remove proscenium and iron columns
from Ford's Theatre, September 14, 1865.

u
o

of Harry Clay Ford.** The location of the ticket
office was verified from the sketch plan drawn
from memory by John T. Ford." A small window
was located between the ticket office and the par-
quet circle.^"

The locations of the stairway leading from the
lobby to the dress circle and the stairway to the
family circle from the Tenth Street doorway No.
5 were also based on John T. Ford's 1865 sketch
plan.^^ The exact way these stairways are shown
on his plan, however, are highly illogical. If built
in the manner shown they would be impossible to
use. A feasible stairway design is shown on the
new plan. This is a workable interpretation of
what Ford may have been attempting to indicate
on his drawing.^*

When the theatre was built, there was no central
heating system. Niches shown on plans on the
west side of the rear aisle on either side of the
theatre were possibly stove niches.^" Chimneys
which are close at hand could have provided the
necessary draft. Therefore, these stoves, if they
existed at all, could have provided some measure
of heat although not as much as would have been
necessary to provide the large amount of radiation
required to heat the theatre comfortably. The
Ford Theatre in Baltimore, which was built in
1871 by the same builder, James J. GifTord, also
contained similar niches. The large number of
gas light fixtures may have also provided a sup-
plementary amount of heat for the theatre.^"

The steps on the new plan of the theatre are
shown in the same position they occupied as shown
in the 1865 photographs.^^ The grade along the
Tenth Street sidewalk has since been lowered.

The arrangement of the first floor plan of the
north wing is based on the report by Stanley W.
McClure, entitled. Historical and Architectural

"Poore, op. cit.,III, 7.

'^ Ford sketch, op. cit.

"H. Clay Ford, stated in a deposition made on April
20, 1865: "There is a small window looking into the
theatre. It is large enough for two or three of us to look
through, one head above the other." See depositions
in L.A.S.

" Ford sketch, op. cit.

^ Ibid.

"See n. 8.

1"°See nn. 5, 13.
....

Features of Ford's Theatre.^" This report has
several authentic historical references to the north
wing which appear to be significant and which
check with other known factors.^^

The doors and windows in the east wall are in
the same position in which they were shown in an
1865 newspaper illustration.^'' This interpretation
is supported by a photograph taken in 1893 im-
mediately after the internal collapse of a portion of
the front part of the building. ^^ The east wall was
rebuilt in 1894 with an entirely different window
and door arrangement. The door in the east wall,
through which the assassin, John Wilkes Booth, es-
caped, swung in with hinges on the left and a
lock on the right as it was approached from the
stage. ^®

SECOND FLOOR PLAN

In order to obtain good bearing many of the
features shown on the second floor plan are located
directly above similar features on the first floor.
The columns supporting the dress circle are so
located because the centerlines on which they are
located coincide with the geometric pattern of the
ground floor plan below. As a result the center of
the pattern came to rest exactly fifty feet east of
the Tenth Street property line on the centerline of
the building. Thus the center of the geometric
pattern coincided perfectly with the center of the

688-^40 O— 63-

" 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), passim.

^Carland again testifies in Poore's, op. cit., I, 55
"Ritterspaugh was sleeping in what is called the man-
ager's office. Mr. Giflord's bed is in it as the first floor
is off the greenroom." The greenroom was actually
across the hall. William Withers, Jr., states in Ibid.,
p. 200, "As you go up the stairs, there is a star's room
on the first floor."

" A. Berghaus drew a pen and ink sketch of the scene
for Frank Leslie's Illustrated Newspaper, May 13, 1865.

==See n. 5.

*" Joseph B. Stewart, v/ho was in the theatre the night
the President was assassinated, said under cross-examina-
tion by Ewing, counsel: "The lock of the door as I ap-
proached it (from the stage) was on the right hand side,
the hinges to the left." Pitman, op. cit., p. 80. In
Poore's, op. cit., I, 70-71, Stewart states: "Entering it
(the alley stage door) from the outside, it would swing
back from the left to the right on the inside."

o
o

radii on which the columns were located. These
radii fan out at twenty-seven degrees and are
twenty-four feet in length and eleven feet apart.
The location of these radii was then plotted on the
new plan after comparing 1865 photographs^"
and making slight adjustments from assembled
information.^* Consequently, the rhythm of the
column locations and spacing was established by
placing the two center columns equidistant from
the centerline of the building on the arc of the
twenty-four foot radii.

The steps on the side of the dress circle are
shown projecting at right angles from the north
and south walls. This is typical of the balcony
treatment in Ford's Theatre in Baltimore and
Thalian Hall, Wilmington, North Carolina. ^^

A double door in the south wall opened into
a lounge '"' in the south addition. Entry to the
lounge was by two steps down from the dress circle.
This door is clearly shown on the exterior photo-
graph taken in 1930.*'

Eight of the ten windows across the Tenth
Street fagade of the theatre and which provided
light and air for the dress and family circle lobbies
were enlarged in 1894. Photographs of 1893
verify this detail " and all photographs taken
subsequent to that date show this change.''^ Photo-

"See n. 5.

''See nn. 2, 3, 10, 14.

" Ford's Theatre, Baltimore, Maryland, was designed
and built by James J. Gifford in 1871, eight years after
he completed Ford's Theatre, Washington. The two
theatres possessed many of the same characteristics.
Thalian Hall, Wilmington, North Carolina, was built
in 1867 and also contains some of the same character-
istics as Ford's Theatre, Washington.

" McClure, op. cit., p. 6, mentions the lounge. Bryan,
op. cit., p. 169, states: "In February 1864 a lounging
room connected with the dress circle had been advertised
for use in the pauses of the entertainment. This room,
richly furnished, and with all the conveniences and ap-
pliances of a modem drawing room, was added by cut-
ting through from the dress circle to the second floor
of the three story brick building on the south."

"See n. 21.

"See n. 20.

" Sewell, op cit., pp. 1, 6. Excerpts from this re-
port, relating to the change in size of the windows on
the west elevation, state: "It was required that the front
windows on the second and third floors should give the
same area of opening as those on the first floor, that is
41.75 square feet." The windows were therefore
enlarged to meet this figure.

graphs taken after 1894 show that two windows in
the south bay remain the same size as originally
constructed in 1863. These two windows were
used as a guide in redrawing and relocating the
other eight windows in the plan on the front of
the theatre."

The only available plan of the dress circle is a
diagrammatic ticket sales plan ^^ similar to the one
lithographed in 1863 for the ground floor.*" Al-
though this plan does not show stove niches in
the dress circle, it is conjectural that such niches
may have also existed in the dress circle plan
directly above those on the first floor. There is
ample evidence for locating them here: space is
sufBcient, chimneys are close at hand for stoves,
and there is no other way to supply heat to this
part of the building. In support of this conjecture,
it is interesting to note that Ford's Theatre in
Baltimore, which was constructed after Ford's
Theatre in Washington, had niches in this ap-
proximate location. Dressing rooms were located
on the second floor of the north wing.*^

THIRD FLOOR PLAN

The size and shape of the family circle on the
third floor of the theatre was determined from
1865 photographs,*^ the amount and disposition
of space in which it had to fit, and the geometric
pattern of the lower floors. The 1865 photo-
graphs *" definitely show that wooden benches were
used in the family circle. These wooden benches
are almost identical in appearance to those used
in the second balcony in Thalian Hall.^°

Space e.xists for a room in the northwest corner
of the third floor lobby. Although there is no ref-
erence to such a room in any of the historical
notes, it might be conjectured that a room was
situated here for purely architectural and struc-
tural reasons. The stairwell space on the south-
west comer would be balanced and a wall from

"See n. 21.

« Copy iri F.T.C.

"See n. 8.

" In Poore, op. cit., I, 200, William Withers, Jr., the
leader of the orchestra states, "Upstairs were the dress-
ing rooms for the actors."

"See n. 5.

" Ibid.

"See n. 39.

floor to ceiling in this area would not only improve
the appearance of the inverted ceiling plan but
would also strengthen it. A room in this location
would also serve several practical purposes: it
could be used as a rest room, a lounge, an ofl!ice,
an usher's room, or for storage. Possibly the fail-
ure to mention a room in this part of the theatre
was due to its remote location from the significant
events of the evening of the assassination. For
these reasons the architect has assumed that a
room existed at this location and one is therefore
included on the new plan of the third floor. The
third floor of the north wing probably contained
dressing rooms.

The fourth floor of the north wing is about on
the same level as the third floor lobby of the family
circle. It contained a small carpenter shop and
the rather large dressing room of Louis J. Garland,
the costumer for Ford's Theatre."

The exact height of the paint-bridge and fly-
galleries is difficult to establish as the east wall has
been completely rebuilt since 1893 and no wall
scars remain. Furthermore, since there are no
known records of any exact plans of the paint-
bridge and fly-galleries, the architect has based
all locations and elevations shown on the new
plans on court testimony.

Therefore, according to Lamb's testimony, the
location of the paint-bridge would be at an eleva-
tion of 66.63 feet." According to the testimony of
John Miles, a fly-boy, the fly-galleries were three
and a half stories above the stage at an elevation
of 55 or 56 feet. On the new plans the elevation

(photo by abbie rowe)

Figure 54. Detail of lintel and original casement window
of south bay.

^Benn Pitman (comp.), The Assassination of Presi-
dent Lincoln and the Trial of the Conspirators. (New
York: Moore, Wilstach & Baldwin, 1865), p. 108. Louis
J. Garland, the costumer, stated during cross-examina-
tion, "We brought lumber up to the top dressing rooms
for shelving for my wardrobe through the window, to the
fourth story." Garland also states in Poore, op. cit., I,
57, "The carpenter shop is attached to the theatre the
same as my wardrobe is."

"-James Lamb, artist and scenic painter of Ford's
Theatre, testified in Surratt's Trial, I, 588, "It (the paint
bridge) would be 36' or 37' (elevation 67' or 68') above
the stage floor. ... It occupies a position in the rear
of the theatre facing the rear wall . . . and it is open
.... There is a mere railing (probably a pin rail)
at the back .... I had a . . . boy who was em-
ployed in raising the paint frame up and down."

of the fly-galleries is set at 55.80 feet. At this
height the fly-boy could have looked out of the
top of a double hung window that was half above
the fly-galleries and half below and see Booth es-
cape on the horse that was waiting in the alleyway
below. '^ Most probably there was also a scenery
slot along the eastwall in the floor of the paint
bridge through which to slide a scenery frame.

The fourth floor of the north wing is about half
way between the fly-galleries and the paint-bridge
in elevation. It is assumed that a small stoop was
required on the theatre side of the doorway of
the north wing to permit ready access to the paint
bridge and fly-galleries by means of two short
flights of steps, one going up and one leading
down.

The gridiron was probably suspended partly
from the underside of the lower chords of the
roof trusses and partly from the underside of the
paint bridge to allow for complete coverage of
the open part of the stage below. '*■' Such cover-
age is necessary in order to properly distribute
the scenery and make full use of the stage. '^^

The third floor of the south addition was known
to contain the rooms of H. Clay Ford and James
R. Ford.'^" A stairway also led up to the third floor

^ John Miles, one of the fly boys, testified in Pitman,
op. cit., p 81, The flies were "about three and a half
stories (up) from the stage .... I was at the win-
dow pretty nearly all the time. From the time Booth
brought the horse until he went away, and from the
time I looked out of the window, John Peanuts was lying
on the bench holding the horse ; I did not see any one
else holding it."

" Harold Burris-Myer and Edward C. Cole, Scenery
for the Theatre, Boston: Little, Brown & Co., 1951, p.
286, gives following definition of a gridiron: "The grid-
iron stands from three to ten feet below the stage roof.
(In the case of the Ford Theatre, this would mean the
lower chords of the roof trusses.) It consists of beams
(steel in modern installations) running from the back
proscenium wall to the back wall of the stage. The
beams are set in pairs ten to eighteen inches apart. Set
across the openings are left blocks. Over the be^ms is
laid a metal or wooden grill on which men may work
in safety. Lines (ropes) are run from batteries, sand-
bags (for counterbalancing scenery) or scenery suspended
below the gridiron."

'-^ Frank Leslie's Illustrated Weekly, May 20, 1865,
also n. 5.

'=" Bryan, 0/1. C!*., p. 169.

from the second floor below as shown by wall scars
on the 1930 photograph" and the 1893
drawings!^*

REFLECTED CEILING PLAN

The ventilator openings are shown on the archi-
tectural drawings in a position which permits
them to be aligned with the ventilators on the roof
that are shown on the 1865 photographs.^" These
ventilators are outstanding architectural features
and no doubt were responsible for the compli-
mentary remarks made in the contemporary press
on how well the building was ventilated. '''' The
press mentions a dome in the ceiling.*^ A sketched
illustration also shows a rather flat dome which
is more in the shape of an inverted saucer. Its
vertical dimension is dictated by the lower chord
of the roof trusses and by the height of the
proscenium. A circular pattern appears in the
center of the dome and could be interpreted as a
ventilator opening. It is well decorated and prob-
ably made of compressed and perforated sheet
metal. "^ It is part of the ornamentation of the
ceiling for the entire dome as well as the rest of
the ceiling was ornately decorated."' A con-
temporary account states that "the dome will be
finished splendidly in fresco varied with figures in
basso and alto-relievo." "''

In support of this arrangement, a ventilator
opening in the middle of the dome above the audi-
ence is shown in an architectural book of the
tirne."^ It is also logical to assume that a ventila-

■■'See n. 21.

'^See n. 22.

"See nn. 5 and 20.

"■The Daily Morning Chronicle (D.C.), August 28,
1863, stated that Ford's Theatre was "the coolest and
best ventilated place of public amusement in this city."

"The Daily National Republican (D.C.), July 31,
1863.

'-Frank Leslie's Illustrated Weekly, May 20, 1865.
Sagendorg's Metal Ceiling and Sidewall Finish Catalog,
20th Series, 1869-1893 (Phila.: Penn Iron Roofing and
Corrugating Co., Ltd., 1893), p. 41. Catalog of Artistic
Steel Ceilings, 17th ed. (Chicago: Friedley and Vos-
hardt, 1904), p. 131, plate no. 5118. Originals in
Library of Congress.

" Leslie's, op. cit.

"Daily National Republican, July 31, 1863.

*" James Fergusson, History of Modern Styles of Archi-
tecture (London, England, 1862), p. 461.

f ^ 1

<- otivfiiy i^o^is

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^/fiaiyff "'I'M ■«' 3Drj

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Be:
O

tor opening existed on the centerline of the flat
ceiHng area in the family circle lobby because a
large ventilator was located directly above on the
roof.®"

ROOF PLAN

Nine chimneys appear on the roof plan. Their
locations are shown in photographs of 1865,'^'
and the 1893 drawings."* The distribution of
chimneys indicates how the theatre may have been
heated for they could easily have provided ade-
quate draft for stoves which may have been located
in various sections of the theatre. Some of the
chimneys have been completely removed from
the existing structure ; others are still in evidence
under the eaves.

Twelve hatches, six on each side, were located
about half way down the north and south slopes
of the roof. Three large ventilators were formerly
on the ridge. The lookouts, projecting as they
did in an 1865 photograph, are shown together
with the parapet wall and the eaves of the gable
end on the Tenth Street edge of the roof.

WEST ELEVATION

The west elevation as indicated on the Locraft
engineering drawings "" has been referred to at
various times as the Tenth Street elevation and
the front elevation. For the purpose of the present
plans these terms are considered identical.

The drawings show the front elevation of the
theatre as it appeared in the 1865 photographs.'"
Inasmuch as the activities of the south addition
were so closely related to the functions of the
theatre, its elevation will be included here. The
drawing shows the relative position of the two
buildings and how the various architectural fea-
tures and precise conditions at the joint line fit
together. The west elevation of the north wing,
because of its location, is shown with dashed lines
for normally it would be screened by buildings in
front of it along Tenth Street.

The grade shown has been determined from
the 1865 photographs." The front steps of the
theatre are ^hown as they appeared in 1865."-
Ford's sketch plan" and photographs of 1865
show doors across the front on the first floor.'''

Eight of the ten windows on the second and
third floors of the front elevation were enlarged in
1894.'^ The two windows in the family circle
stairwell or south bay remained as they originally
were in 1865. Photographs taken before and after
1893 "" and a report of 1894 confirm this observa-
tion. The stairwell windows were used as models
to show the original design of the windows of the
west elevation."

When the theatre was opened in 1863, the
cornice and pediment was unfinished. The pedi-
ment and cornice lookouts are shown exposed as
they were in 1865. The outer finished millwork
had not been added to the structure at that time
and this distinguishing feature of the building
was completed after the government took posses-
sion of it.'* The circular window in the center of
the pediment was not built in until after govern-
ment ownership took place. '^

The approximate size of the large ventilators on
the ridge of the roof is shown on this elevation ac-
cording to the 1865 photographs.*" Since the
large volume of fresh air required for a theatre
audience was no longer needed when the theatre
was converted into an office building, the large
ventilators were removed and smaller ones sub-
stituted as shown in photographs of 1894 and
1961.*^ The roof hatches were sealed over with
shingles. *-

"See n. 5.
" Ibid.

"Sewell, op. cit.

'"' See n. 1 and Locraft Engineer Drawings, Sheet No.
N.C. P. 85.11-55-8.
™See nn. 5, 20.

"See n. 20.

" Ibid.

" See nn. 3, 8. For purposes of clarification the front
doorways along the Tenth Street elevation will be num-
bered from 1-5, starting with doorway No. 1 being the
farthest to the north.

" See n. 20.

"See nn. 5, 20.

" Scwell, op. cit. See Figure 54. Benjamin F. Simms,
supervisor of guards of memorials and historic sites,
N.C.R., N.P.S., appears in the photo.

™See nn. 5, 20.

"/fciV and n. 21.

»°See n. 20.

^'Ibid, n. 5.

*=See n. 21.

NORTH ELEVATION

The north elevation has been drawn in accord-
ance with the Locraft Engineering Report, 1865
photographs taken from F Street, NW., and the
engineering report of the War Department. This
latter was prepared in 1878 with accompanying
specifications and drawings showing the strength-
ening and underpinning of the wall of the north
elevation."" The roof features shown on the
drawing of the new north elevation are similar
to those of the new south elevation. Their loca-
tion corresponds to features shown in the 1865
photographs.^*

EAST ELEVATION

The rear or east elevation faces the public alley-
way to the rear of the theatre.*' On the new
drawing the architectural features have been com-
piled from several sources of information : photo-
graphs taken in 1893 at the time of the partial
collapse of the building; a sketched newspaper il-
lustration ; *" and court testimonials made durmg
the trial of the conspirators.*' A large sliding
door that was in the center of the east wall and
through which scenery was moved directly onto
the stage was indicated in two places. An early
newspaper sketched illustration, published shortly
after the assassination,** and the brick segments
of an arch over the door are in evidence on an
1893 photograph taken in the alley shortly after
the internal collapse. When the War Department
occupied the building, the large sliding door be-
came useless and it was bricked up as shown m
the 1893photograph.*='

The windows in the east wall are located as
accurately as possible from 1893 photographs,^"

'"Letter from Lieutenant Colonel Thomas Lincoln
Casey, C.E. to Honorable George W. McCrary, Secre-
tary of War, Washington, October 22, 1878. Original
in R.G. 77, N.A. Copy in F.T.C. This letter com-
pletely describes the work of underpinning the north
wall and includes some crude drawings.

"See n. 20.

"^ Locraft Engineer Drawing, Sheet No. N.C.P. 85.1 1-

55-2.

*" Berghaus, op. cit.
"See nn. 2, 51, 53.
^ Berghaus, op. cit.
"See n. 21.
•» Ibid.

Lt. Sewell's drawings of 1893," newspaper
sketches,''- and court testimony.*"^ The stairways
arc placed where John T. Ford located them in
his rough sketch,"'' and as shown on the plan
drawn by Lt. Simon P. Currier."'* Nothing is
known about the features or wall treatment on
the gable end in 1865.

The original east wall was built ten inches out
of plumb according to findings of U.S. Army en-
gineers and Lt. Sewell's drawing.^" After the
collapse of 1893, the entire east wall was demol-
ished and rebuilt with more rigid engineering
controls. The present wall has no resemblance
to the original wall built by James J. Gifford in
1863. For instance, the 1893 wall brickwork is
American bond whereas the 1865 brickwork was
running bond. By comparing old photographs "'
and sketches,"* the 1865 and 1893 fenestration
and door locations were found to be quite different
than they now are. The new drawing shows the
features as they were in the original wall.

SOUTH ELEVATION

The south addition or the "Star Saloon" as it
was known is shown on the south elevation of the
theatre."" The disposition of some of the parts
of the south addition have been determined in
various ways : by scars left on the exterior face of
the south wall of the theatre building; "° by cer-
tain historical notes;"' by court testimonials;'"^
from ncwspajser articles of the period ; '"^ and
photographs of the 1930 demolition."* Plaster
has been removed in certain places on the interior
of the present building to derive additional evi-
dence in support of these findings. Since 1930 the
entire south wall has been parged with cement

" Sewell, op. cit.

"- Berghaus, op. cit.

"See nn. 51, 53.

"* Ford sketch, op. cit.

'" Currier, op. cit.

■^ Sewell, op. cit.

"'See n. 5.

" Berghaus, op. cit.

^ Bryan, op. cit., passim.

"»■ McClure, op. cit.

"' Stewart, op. cit.

^■"See n. 16.

"» McClure, op. cit.

"•See n. 21.

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plaster to waterproof it. The roof features shown
have been previously described under "Roof
Plan." 1°=

LONGITUDINAL SECTION AND
CROSS SECTION

The two drawings of the longitudinal and the
cross sections may be discussed together since they
show many of the same features but obviously from
a different angle.

The horizontal dimensions were determined by
the new floor plans. War Department specifica-
tions of 1865 state that the first floor was to be
raised seven and one-half inches."** A datum for
the new drawings is thus provided by subtracting
seven and one-half inches from the existing floor
level. The datum on these new drawings is
29.18 feet on the lobby floor as previously stated.

The level of the stage floor was determined by
relating it to the 30.00 foot alley elevation in the
rear of the theatre. The slope of the stage floor
towards the audience is clearly visible on 1865
photographs ^"^ and is mentioned by W. J. Fer-
guson."** The sloping of the stage floor towards
the audience is also typical theatrical construction
since it gives the audience a better view of stage
action.

After establishing the elevation of the stage
and lobby, it was possible to project a sloping
floor which established a proper relationship to
the orchestra and parquet circle. This projec-
tion was confirmed by architectural books on the
design of theatres of the f>eriod 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.

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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

'^^^^^^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

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<iw (Satindhy) KveMinK Octol.er 31et, l.int night

pcsitively of Mi:<8 MnKcii- Mitchell't. .-ngHg'iuent.

MONDAY EVKNING, NOVEVint.U 2,1.

Firot appearance of the jouiig and distinguia'.ied tragediau

JOHN WILKES BOOTH.

EPDuring this eiigngeuieiit all ot ihe celebrated Shakes-

p-)rean Tragedies will be produced.

ADMISSION:

Dre.ip Circle 50 cents I Oroli^atra Chairs 75 (lenta

Faujily (Jircle i.'5 cent* I CrivalB Boxes I'll and »(>

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

29 Aug., Sat.

Same

30 Aug., Sun.

Closed

31 Aug., Mon.

"The Naiad Queen"

Mr. and Mrs. C. B. Bishop

1 Sept., Tues.

Same

2 Sept., Wed.

Same

3 Sept., Thurs.

Same

4 Sept., Fri.

Same

5 Sept., Sat.

Same

6 Sept., Sun.

Closed

7 Sept., Mon.

"The Naiad Queen"

Mr. and Mrs. C. B. Bishop

8 Sept., Tues.

Same

9 Sept., Wed.

Same

10 Sept., Thurs.

Same

11 Sept., Fri.

Same

12 Sept., Sat.

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

16 Sept., Wed.

"The Naiad Queen" and "A Morn

Call"

Same

17 Sept., Thurs.

Same

18 Sept., Fri.

"The Naiad Queen" and "A Model

of a

Same

Wife"

19 Sept., Sat.

Same

20 Sept., Sun.

Closed

21 Sept., Mon.

"The Little Barefoot"

Maggie Mitchell

22 Sept., Tues.

Same

23 Sept., Wed.

Same

24 Sept., Thurs.

Same

25 Sept., Fri.

Same

26 Sept., Sat.

Same

27 Sept., Sun.

Closed

28 Sept., Mon

"Fanchon the Cricket"

Maggie Mitchell

29 Sept., Tues.

Same

30 Sept., Wed.

Same

1 Oct., Thurs.

Same

2 Oct., Fri.

Same

3 Oct., Sat.

Same

4 Oct., Sun.

Closed

5 Oct., Mon.

"Fanchon the Cricket"

Maggie Mitchell

6 Oct., Tues.

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

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

Maggie Mitchell
Same

Same

Same
Same
Same

JOHN WILKES BOOTH

Same

JOHN WILKES BOOTH

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

Emma Webb
Ada Webb
Same

Same
Same

Emma Webb
Ada Webb
Same

Same

James H. Hackett

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

John E. Owens

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

John T. Raymond

Same

Mrs. D. P. Bowers

Same

Mrs. D. P. Bowers

Same

Same
Same

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

"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

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

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

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

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

25 May, Wed.

Same

26 May, Thurs.

Same

27 May, Fri.

Same

28 May, Sat.

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

"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

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

Closed

"Christy's Minstrels"

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

George Christy

Same

J. B. Wright
W. Withers, Jr.
H. Clay Ford

Mr. and Mrs. W. J. Florence

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

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

Same
Same

Same

Maggie Mitchell

Same

Maggie Mitchell

Same

Maggie Mitchell

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

"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

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

"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

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

Mrs. D. P. Bowers

Same
Same

Same
Same
Same

Mrs. D. P. Bowers

Same

Frank Drew

Same

Frank Drew

Same

119

DATE

PRODUCTION

LEADING ACTORS

7565

IJan.

, Sun.

Closed

2 Jan.

, Mon.

"Damon and Pythias"

Edwin Forrest

3 Jan.

, Tues.

Same

4 Jan.

, Wed.

"Richelieu, or The Conspiracy"

Same

5 Jan.

, Thurs.

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

11 Jan.

Wed.

"Hamlet"

Same

12 Jan.

Thurs.

"King Lear"

Same

13 Jan.

Fri.

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

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

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

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

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

17 Feb.

Fri.

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

Mrs. D. P. Bowers

Same

Same (benefit and only perform-
ance)
Same

Mrs. D. P. Bowers

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

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.

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<Lthe performance at the
Theatre.

My wife and I enjoyed your visit and hope to see or to
hear from you again soon.

Best regards,

rr-
Frank Ford
255 West 90th St.
New York 24, N.Y.
TR 4-0745

Figure 62. Letter of Frank Ford, son of Hany Clay Ford.

124

BIBLIOGRAPHY

I. PRIMARY SOURCE MATERIAL

1. ARCHIVES AND MANUSCRIPTS

a. Official Papers

(In National Archives unless stated otherwise)

U.S. Government:

General Records of the U.S. Government, Record

Group 1 1 .
Records of the U.S. Senate, Record Group 46.
Records of the U.S. House of Representatives,

Record Group 277.
Records of Joint Committees of Congress, Record
Group 128.

Joint Committee on the Ford Theatre
Disaster.
Records of the Architect of the Capitol, U.S.
Capitol.

Ford Theatre file.
Records of the General Accounting Office, Record
Group 217.

Third Auditor's Account, 1866.
Department of the Army:

Records of the Office of the Secretary of War,
Record Group 107.

Endorsement Book, 1865-1866.
Index to Letters Received, 1865-1866.
Index to Letters Sent, 1865-1866.
Letters Received, 1865-1866.
Letters Sent, 1865-1866.
Record of the Headquarters of the Army, Record

Group 108.
Records of The Adjutant General's Office, Record

Group 94.
Records of the Office of The Judge Advocate Gen-
eral (War), Record Group 153.
Correspondence files, 1842-1933.
Records of Investigations, 1864—1927, espe-
cially file "Lincoln Assassination Suspects,"
MM2251, containing original depositions.
Records of the Office of the Chief of Engineers,
Record Group 77.

Contract Files, 1866-1928.

Correspondence and Miscellaneous Records,

1812-1894.
Document File, 1894-1923.
Photographic Records, 1862-1940.

Records of the Office of the Chief Signal Officer,
Record Group HI.

Photographs, 1861-1923.
Other Records, 1860-1901.
Records of the Office of the Surgeon General,
Record Group 112.

General Correspondence of the Army Medi-
cal Museum, 1862-1932.
Photograph files, Armed Forces Institute of
Pathology.
Records of the Office of the Quartermaster Gen-
eral, Record Group 92.

General and Miscellaneous Headquarters

Records, 1794-1925, especially file 57078,

"Ford's Theatre."

Records Relating to Construction, 1870-1940.

Records of the Provost Marshal General's Bureau,

1863-1866. Record Group 110.
Records of the Bureau of Prisons, Record Group

129.
War Department Collection of Confederate Rec-
ords, Record Group 109.
Department of the Interior:

General Records of the Department of the In-
terior, Record Group 48.
Records of the Commission of Fine Arts, Record

Group 66.
Records of the National Park Service, Record

Group 79.
Records of the Office of Public Buildings and
Public Parks of the National Capital, Record
Group 42.

General Correspondence, National Capital
Parks, 1926-1961, file 1100/343, "Lincoln
Museum."
"Restoration of Ford's Theatre," 1936-1962.
Department of Justice:

Records of the District Courts of the United
States, Record Group 21.

Records of the District Court for the District

of Columbia, 1857-1863.
Docket Book (Criminal Court), 1863-1934.
"Habeas Corpus Case No. 46."
"Papers in the Trial of John H. Surratt
(U.S. vs. John H. Surratt) : Criminal
Case No. 4731, No. 6594 and No.
5920."

125

Department of the Treasury:
General Records of the Department of the Treas-
ury, Record Group 56.
Records of the Treasurer of the United States,

Record Group 50.
Records of the Procurement Division (Treasury),

Record Group 137.
Government of the District of Columbia:
Records of the Profjerty Clerk, Metropolitan
Police, District of Columbia.
Police Blotter, 1865.
Records of the Office, Recorder of Deeds, District
of Columbia, Title Building.

Index Book 19, 20A, and 20B. 3 vols.
Land Records, N.C.T.-l, D.C.
Land Records, N.C.T.-2, D.C.
Land Records, J.A.S.-215, D.C.
Records of the Office of the Surveyor, District of
Columbia, District Building.

Record of Squares, Book 11, 1792-1796.
Subdivisions, Book 57, 1916-1918.
Survey Book 27, 1903-1932.
"Survey Papers, Square 377."

b. Private Papers

(In Manuscripts Division, Library of Congress,
unless stated otherwise.)

Papers of Major General E. Auger.

Diary, John Wilkes Booth, Lincoln Museum.

Papers of Thomas E. Ewing.

Ford Family Papers, Maryland Historical

Society, Baltimore, Md.
Papers of Major General Montgomery J.
Meigs.

2. PUBLISHED WORKS
a. Official Documents

U.S. Government. Trial of John H. Surratt in
the Criminal Court for the District of Columbia.
2 vols. Washington: G.P.O., 1867.

U.S. Congress. The Globe, 1861-65, 1893-94
(Official Proceedings of the Congress of the
United States) . Washington: Gales & Seaton,
1861-1865, 1893-94.

. Journal of the U.S. House of Representa-
tives. 3d Sess., 37th Congress, 1862-1863.
Washington: U.S.G.P.O., 1863.

U.S. Senate. Report of the Committee of the
Judiciary on the Assassination of President Lin-
coln. Washington: U.S.G.P.O. 1866.

U.S. War Department. Annual Report of the
Secretary of War, 1863-1866. 4 vols. Wash-
ington: G. P.O., 1863-1866.

. Annual Report of the Chief of Engineers,

1863-1866, 1893-1894, 1932-1933. 8 vols.
Washington: G.P.O., 1864-1933.

. Annual Report of the Quartermaster

General, 1863-1867. 5 vols. Washington:
G.P.O., 1864-1868.

Caemmerer, H. P. (comp.). Washington, The
National Capital. Senate Document No. 332,
71st Congress, 3d Sess. Washington: U.S.
G.P.O., 1932.

McClure, Stanley W. Historical and Architec-
tural Features Significant in the Restoration or
Partial Restoration of Ford's Theater. Wash-
ington: U.S. Department of the Interior,
N.C.P., 1956.

. The Lincoln Museum and the House

Where Lincoln Died. (National Park Service
Historical Handbook No. 3.) Washington:
G.P.O., 1954.

Peterson & Brothers, T. B. ( eds. ) . The Trial of
the Assassins and Conspirators. Philadelphia:
T. B. Peterson & Brothers, 1865. The complete
and unabridged edition.

Pitman, Benn (comp.). The Assassination of
President Lincoln and the Trial of the Con-
spirators. New York : Moore, Wilstach & Bald-
win, 1865. (The officially expurgated ac-
count.)

Poore, Ben: Perley (ed.). The Conspiracy Trial
for the Murder of the President. 3 vols. Bos-
ton: J. E. Tiltonand Co., 1865-1866.

Shedd, Charles E., Jr. Lincoln State Park and
Nancy Hanks Lincoln State Memorial, Spencer
County, Indiana. In Historic Site Survey
Series. Philadelphia: U.S. Department of the
Interior, N.P.S., 1956.

b. Memoirs, Diaries, Etc.

Baker, L. C. History of the United States Secret
Service. Philadelphia, 1867. ( Baker was Chief
of the U.S.S.S. during the Civil War.)

Buckingham, J. E. Reminiscences and Souvenirs
of the Assassination of Abraham Lincoln.
Washington, 1894. (Buckingham was door-
keeper at Ford's Theatre, April 14, 1865. )

Ferguson, W. J. / Saw Booth Shoot Lincoln.
Boston: Houghton Mifflin Company, 1930.
(Ferguson operated a restaurant and bar north
of Ford's Theatre and also worked as theatre
usher at times. )

Ford, George D. These Were Actors. New York :
Library Publishers, 1955. (The author is the
son of H. Clay Ford, Treasurer of Ford's Thea-
tre.)

Forrester, Izela. This One Mad Act. Boston:
Hale, Cushman and Flint, 1937. (The au-
thoress is the granddaughter of John Wilkes
Booth.)

Gobright, L. A. Recollections of Men and Things
at Washington During Half a Century. Phila-
delphia, 1869. (Gobright was the Washington
correspondent of the London Times.)

126

May, John F. "The Mark of the Scalpel," Co-
lumbia Historical Society Records, XIII, 51.
(Dr. May positively identified Booth's body on
board the monitor, Montauk, by the scar of a
tumor which he had removed from Booth's neck
in 1864.)

Mudd, Nellie (ed.). The Life of Dr. Samuel
Mudd. New York: Neal and Company, 1906.
(The authoress is Dr. Mudd's granddaughter.)

Sollers, John Ford. The Theatrical Career of
John T. Ford. Chaps. Ill and IV, 1959. (Un-
published doctoral dissertation by the grand-
nephew of John T. Ford. )

Welles, Gideon. The Diary of Gideon Welles.
Boston: Houghton Mifflin Co., 1925. (Welles
was Lincoln's Secretary of the Navy. )

II. SECONDARY MATERIALS

a. Books

Bellanca, Horace V. A History of Stagecraft in
America, 1798-1820, and Its Relation to the
Drama of the Period. Washington: Catholic
University, 1954.

Bishop, Jim. The Day Lincoln Was Shot. New
York: Harper & Brothers, 1955.

Brooks, Noah. Washington in Lincoln's Time.
New York, 1896.

Brown, T. AUsten. History of the American Stage.
New York: Dick and Fitzgerald, 1870.

. A History of the New York Stage: From

the First Performance in 1732 to 1901. 3 vols.
New York : Dodd, Mead and Co., 1903.

Bryan, George S. The Great American Myth:
The True Story of Lincoln's Murder. New
York: Carrick and Evans, Inc., 1940.

Cheney, Sheldon. The Theatre: Three Thou-
sand Years of Drama, Acting and Stagecraft.
New York: Tuder Publishing Co., 1935.

Daly, Charles P. First Theatre in America. New
York: The Dunlap Society, 1896.

Dibdin, Charles. A Complete History of the Stage.
5 vols. London: For the Author, 1800.

Dimmick, Ruth Crosby. Our Theatre Today and
Yesterday. New York: H. K. Fly Co., 1913.

Dulles, Foster Rhea. America Learns to Play.
New York: Appleton-Century, 1940.

Dunlap, William. History of the American Thea-
tre. New York: J. & J. Harper, 1832.

Eisenschiml, Otto. Why Was Lincoln Murdered?
Boston, 1937.

Ferguson, James. History of Modern Styles of
Architecture. 3 vols. London, 1862.

Ford, Paul Leicester. Washington and the Thea-
tre. New York: The Dunlap Society, 1899.

Freedley, George, and Reeves, John A. A History
of the Theatre. New York: Crown Publishers,
1941.

688-440 O— 63-

-10

Hornblow, Arthur. A History of the Theatre in
America (From Its Beginnings to the Present
Time). 2 vols. Philadelphia: J. B. Lippincott
and Co., 1919.

Hughes, Glenn. A History of the American Thea-
tre. New York. Samuel French, 1951.

Ireland, Joseph N. Records of the New York
Stage from 1750 to I860. 2 vols. New York:
T. H. Morrell, 1866.

Jackson, Richard P. The Chronicles of George-
town, D.C., from 1751 to 1878. Washington:
R. O. Polkinhorn, 1878.

James, Reese Davis. Old Drury of Philadelphia.
Philadelphia: University of Pennsylvania, 1932.

Kimmel, Stanley. The Mad Booths of Maryland.
Indianapolis: The Bobbs-Merrill Company,
1940.

Leech, Margaret. Reveille in Washington, 1860-
1865. New York: Garden City Publishing Co.,
Inc., 1945.

Lindstrom, Ralph G. Lincoln Finds God. New
York: Longmans, Green and Co., 1958.

Lippincott, Horace Mather. Early Philadelphia,
Its People, Life and Progress. Philadelphia:
J. B. Lippincott, 1917.

Lossing, Benson J. The Pictorial History of the
Civil War. 2 vols. Philadelphia: G. W. Childs,
1866.

Matthews, Brander, and Hutton, Laurence (eds.) .
Actors and Actresses of Great Britain and the
United States from the Days of David Garrick
to the Present Time. 5 vols. New York : Cassel
& Co., 1886.

Mayorga, Margaret C. A Short History of the
American Drama. New York: Dodd, Mead &
Co., 1932.

Moody, Richard. America Takes the Stage: Ro-
manticism in American Drama and Theatre,
1750-1900. Bloomington: Indiana University
Press, 1955.

Nagler, A. M. (ed.). Sources of Theatrical His-
tory. New York: Theatre Annual, Inc., 1952.

Nicoll, Allardyce. The Development of the Thea-
tre (A Study of Theatrical Art from the Begin-
nings to the Present Day). New York: Har-
court Brace and Co., 1927.

. The English Theatre (A Short History) .

New York: Thomas Nelson and Sons, 1936.

Odell, George C. D. Annals of the New York
Stage. 15 vols. New York : Columbia Univer-
sity Press, 1927.

Oldroyd, O. H. Assassination of Abraham Lin-
coln. Washington: O. H. Oldroyd, 1901.

Quinn, Arthur Hobson. A History of the Ameri-
can Drama from the Beginning to the Civil
War. New York: Harper and Brothers, 1923.

Rankin, Hugh F. The Colonial Theatre: Its His-
tory and Operations. Williamsburg, Va., 1955.
Unpublished MS in 2 vols.

127

Sandburg, Carl. Lincoln Collector. New York:

Harcourt, Brace & Co., 1949.
. Abraham Lincoln: The Prairie Years.

2 vols. New York: Harcourt, Brace & Co.,

1926.
. Abraham Lincoln: The War Years. 4

vols. New York: Harcourt, Brace & Co., 1939.

Scharf, J. Thomas. Chronicles of Baltimore. Bal-
timore: Turnbull Brothers, 1874.

Southern, Richard. Changeable Scenery: Its Ori-
gin and Development in the British Theatre.
London: Faber and Faber, Ltd., 1952.

Starr, John W., Jr. Lincoln's Last Day. New
York, 1922.

Van Doren Stern, Philip. The Man Who Killed
Lincoln. New York: Random House, 1939.

Warren, Louis A. Lincoln's Youth, Indiana
Years, Seven to Twenty-One, 1816-1830. New
York: Appleton-Century Crofts, 1959.

Willard, George O. History of the Providence
Stage, 1762-1891. Providence: Rhode Island
News Co., 1891.

Wilson, Francis. John Wilkes Booth. Boston:
Houghton, Mifflin Company, 1929.

Winchcole, Dorothy C. The First Baptists in
Washington, D.C., 1802-1952. Washington:
First Baptist Church, 1952.

b. Periodical Articles

Coad, O.S. "The American Theatre in the Eight-
eenth Century," The South Atlantic Quarterly,
XVH (July, 1918), 190-197.

. "The First American Play," The Nation,

CVn (August 17, 1918), 182-183.

Duerr, Edwin. "Charles Ciceri and the Back-
ground of American Scene Design," Theatre
Arts Monthly, XVI (December, 1932), 983-
990.

"Fifty Years Ago in the Star," The Washington
Sunday Star, Apri] 23, 1915.

Ford, John T. "Behind the Curtain of Conspir-
acy," The North American Review, CXLIX
(April 1889), 484-493.

Ford, Worthington C. "The Beginnings of Amer-
ican Dramatic Literature," The New England
Magazine, New Series, IX, 674-680.

Fox, Dixon Ryan. "The Development of the
American Theater," New York History, XVII
(January 1936), 22-41.

Gay, Frederick Lewis. "The First American
Play," The Nation, LXXXVIII (February 11,
1909), 136.

Hamar, Clifford E. "Scenery on the Early Amer-
ican Stage," The Theatre Annual, 1948-1949,
VII, 84-103.

"How Booth Was Buried," The Baltimore News,
March 16, 1901.

Lawrence, W. J. "Early American Playgoing,"

The Theatre, XXIV (December 1916), 368,

404.
Metcalf, Kenneth N. "Biography of a Chair,"

Lincoln Herald, LXIII, No. 4 (Winter 1961),

196-202.
Proctor, John Clagett. "Ford Theatre Collapse

Stirs Capital," The Washington Sunday Star,

June 8, 1930.
Sherwood, William. "First Theatres of the

South," The Southern Literary Messenger, I

(January 1939), 56-59.
Sutherland-Graeme, Capt. A. V. "Three Old

London Theatres," The Connoisseur, XCVIII

(August 1936) , 92-96.
Swanson, Wesley. "Wings and Backdrops," The

Drama, XVIII (October 1927), 5-7, 30.

c. Newspapers

Alexandria Gazette (Va.), 1862-1865.
Baltimore Advertiser and Commercial News,

1863-1865.
Baltimore Daily Gazette, 1863. *

Baltimore Sun, 1863-1865. f

Baltimore Weekly Sun, 1863-1865.
Belair National American (Md.), 1863. *;

Chicago Daily Tribune, 1863-1865. f

The Columbia (D.C.) , 1862-1865.
Daily Morning Chronicle (D.C), 1863.
Daily National Intelligencer (D.C), 1833-1866.
Daily National Republican (D.C), 1863.
Washington Evening Star, 1861-1865.
Frank Leslie's Illustrated Newspaper (N.Y. ),

1863-1865.
Harper's Illustrated Weekly (N.Y.) , 1865.
New York Herald-Tribune, 1865.
New York Sun, 1865.
New York Times, 1865.
New York World, 1865.
Philadelphia Inquirer, 1862-1865.
Sunday Morning Chronicle (D.C), 1863-1865.
Washington Post, 1865-1893.
Weekly Chronicle (D.C), 1865.
Weekly National Intelligencer (D.C), 1863-1865.

III. MISCELLANEOUS MATERIALS

1. THEATRE AND SPECIAL
COLLECTIONS

a. Libraries and Museums

FORD THEATRE COLLECTION

Depositions of Ford Theatre Employees, 1865-

1867.
General Correspondence on Restoration of Ford's

Theatre, 1960-1962.
Interviews, 1960-1962.
Photographs, 1865-1962.

128

LINCOLN MUSEUM COLLECTION

Archives of the Lincoln Museum.
Chain of Title Papers to Ford's Theatre Building.
Periodical Literature.
Photographs, 1865-196L

General Correspondence, Lincoln Museum, 1932-
1962.

THEATRE AND OTHER COLLECTIONS

American Institute of Architects Library, Wash-
ington, D.C.

Catholic University Library, Brookland, Mary-
land.

Enoch Pratt Free Library, Baltimore, Maryland.

Ford Theatre Collection, Maryland Historical So-
ciety, Baltimore, Md.

Ford Theatre Collection, Public Library of the
District of Columbia.

Harvard University Library, Cambridge, Mas-
sachusetts.

Illinois State Historical Library, Springfield, Il-
linois.

Lincoln National Life Foundation, Fort Wayne,
Indiana.

New York Public Library, New York, New York.

Peabody Conservatory Library, Baltimore, Mary-
land.

Peale Museum, Baltimore, Maryland.

Rare Book Room, Library of Congress.

b. Interviews

Coroner, District of Columbia, Washington, D.C.
Harry J. Baudu, Washington, D.C.
Frank J. Davis, Washington, D.C.

Rutherford Day, Bethesda, Md.

Alexis Droutzkoy, New York, N.Y.

Paul Flint, Washington, D.C.

Herman G. Goldbeck, Annandale, Va.

Don Hehir, Washington, D.C.

Theodor Horydczak, Arlington, Va.

Frank lelenfy, Georgetown, D.C.

Grace Kempton, McLean, Va.

Harry Kirwan and John Smith, McSorley's Old

Ale House, New York, N.Y.
Billy Martin, Georgetown, D.C.
John J. McGrain, Washington, D.C.
Robert J. McKendry, Arlington, Va.
Doris E. Morgan, Baltimore, Md.
Frank Oles, Baltimore, Md.
George Anton Pappas, Washington, D.C.
Ada Robb-Donohue, Swan Harbor, D.C.
Dr. I. Lewis Sandler, Washington, D.C.
Dr. Frances T. Sharpe, Washington, D.C.
John Steinway, New York, N.Y.
C. Eugene Stewart, Washington, D.C.
Dr. C. C. Tansill, Washington, D.C.
Joseph M. Zamoiski, Washington, D.C.

c. Photographs

Mathew M. Brady Collection, National Archives
Illinois State Historical Society, Springfield, Illi-
nois
Illinois State Historical Library, Springfield, Illi-
nois
Lincoln National Life Foundation, Fort Wayne,

Indiana
Rare Book Division, Library of Congress
Still Pictures Division, Library of Congress

129

INDEX

(All references are to Ford's Theatre, Washington, unless stated otherwise.

are in italics. )

Plays produced at Ford's

Academy of Music, 19; (New York), 123; (Philadel-
phia), 7

Acquisition of site, 5, 7, 1 7

Acting Mad, 119

Actress of All Work, 110

Adjutant General, War Department, xi, 63. (See also
Records and Pensions, Office of.)

Administrative data, 1

Allen, Mrs. J. A., 114

Alleyway, rear, 7, 16 (Fig. 10), 30, 61, 83, 89

Ambition, or The Throne, The Tomb, and the Scaffold,
111, 122

Anchors, wall, 25

Anthony and Cleopatra, 1 10

Apostate, The, 109, 121

Appy, Henry, 122

Architect, U.S. Capitol, 20. (See also Edward R.
Clark.)

Architectural data, 69-93. {See also Historic American
Buildings Survey Drawings ( HABS ) . )

Archives. (See National Archives.)

Army Medical Museum, xi, 63

Arth, George M., 45 n.l62

As You Like It, 113, 114

-Assassination of Lincoln, ix, xi, 1, 51, 56—61, 82; assas-
sin's route, 7, 51; escape of, xi; footsteps, xi. {See
also Abraham Lincoln; John Wilkes Booth.)

Atheneum. (5ee Ford's Atheneum.)

Auditorium, 33, 37, 45; HABS drawings. Plates VI,
XIV; Illus., Figs. 24, 28, 30, 32, 36; restoration notes,
83,93

Avenging Hand, The, 1 14

Babes in the Woods, 112, 115, 120

Bailey, Thomas H., xiii

Balfe Company, 1 1

Baltimore Sun, 21 ; Weekly Sun, 33

Basement, 47, 59, 63; HABS drawings, Plates II, XI,

XIII, XIV; Illus., Fig. 52; restoration notes, 69, 71,

73,93
Battle of Shrewsbury, 1 1 2
Beauty and the Beast, 110
Becks, George, 1 15
Benches, Family circle, 33, 39, 103; HABS drawings,

Plates V, XII, XIV; Illus., Figs. 28, 31; restoration

notes, 93
Berghaus, A., 30, 45
Bergman, Carl, 122
Berry, Thomas, 17

Bianca, or The Italian Wife's Revenge, 111, 121
Birth of Cupid in the Bower of Ferns, The, 118, 119
Bishop, Mr. and Mrs. C. B., 13, 107, 109, 113, 114, 116,

120
Blondin on the Low Rope, 1 18
Board of Trustees, 5, 7, 17
Bold Stroke for a Husband, A, 12
Bonnie Fishwife, The, 109

Booth, John Wilkes, xi, xiii, 51, 56, 61, 79, 83; assassi-
nates Lincoln, 59-6 1 ; escape route, xi, 7, 36 ( Fig. 25 ) ,
52 (Fig. 37), 60 (Fig. 44), 60-61; Lincoln sees, in
The Marble Heart, 53; plays at Ford's, 53, 109, 121;
program of, 106 (Fig. 60)

Booth, Junius Brutus, 117, 118

Born to Good Luck, or An Irishman's Fortune, 1 16

Bowers, Mrs. D. P., Ill, 112, 119, 121

Boxes, 27, 35, 37, 39, 43, 47; HABS drawings. Plates
III-V, XII, XIV, XVII ; Illus., Figs. 24, 27, 28, 29, 37,
43, 44; restoration notes, 73; tickets, 35. {See also
Presidential box. )

Bradley, Isaac S., 45 n.l62

Brady, A. W., 115

Brady, Mathew M., 35

Broker of Bogota, The, 113, 121

Brown, Joseph F., 1 7

Brutus, orThe Fall of Tarquin, 113, 121

Buckingham, John M., 57, 59

Bull in a China Shop, A, 115

Burroughs, Joseph ("Peanuts"), 55, 59, 61

Callis, George R., 34

Calvert, Rep. Charles B., 17

Camille, orThe Fate of a Coquette, 111,1 19, 121

Capital city, 53

Capital prison, 69

Capitol, U.S., 11

Garland, Louis J., 82

Ceiling, HABS drawings, Plates VI, XII, XIV; Illus.,
Fig. 24; restoration notes, 83, 84, 93

Chandeliers, 45; HABS drawings, Plate VI; Illus., Figs.
24, 28, 31. 32, 34, 36, 43, 61. {See also Lighting.)

Chicago Daily Tribune, 1863-1865, 11

Child of the Regiment, 1 18

Christy, George, xiii ; Minstrels, 7, 116; Opera House, 7

Civil War, xi, 53 ; Centennial celebration, xi, 1 3

Clark, Edward R., xiii; instructions for alteration of
Ford's Theatre, 65 (Fig. 47); proposal for strength-
ening west fagade, 75 (Fig. 51)

Clarke, J. S., 112, 114, 115, 120, 121

Clock, lobby, 36, 59; greenroom, xii, 103 (Fig. 58)

Clokey, Robert D., 17

Colleen Bawn, The, 110

Comedy of Errors, 1 15

Congressional charter, 17. {See also HR 684.)

Conjugal Lesson, ^,111

Coriolanus, 114, 120

Cornerstone, 21; architectural exploration for, 22 (Fig.
13)

Corps of Engineers, War Department, 20, 25, 63, 89

Costs, construction, xii, 19; restoration, preliminary es-
timate, 1

Counterweights, 47

Cox, Walter S., 19

Coyle, John F., 19,25

Culpeper National Cemetery, 63

130

Currier, Lt. Simon P., 52 (Fig. 37), 61, 73 n. 15, 89

Curtain, main, 45 ; drop, 45, 47

Daiker, Virginia, xiii

Daily National Intelligencer (D.C.) (See National In-
telligencer.)

Damon and Pythias, 113, 120

Dant, George W., 63

Da Parma, Mario, xii

Day After the Wedding, A., 110, 114, 121

Day Too Late, A., 109, 110

Death of Hotspur, The, 1 12

Debonay, J. L., 59

Deed of trust, 19

Denin, Susan, 114, 115, 116

Dennin, William A., ix, xiv

Depositions, Ford's Theatre employees, 15

Deserter, The, or Military Execution, 117

Diamond, J., 1 16

Diana, or Love's Masquerade, 121

Dillon, O. D., 28

Diorama, xi, 108 (Fig. 61 )

Disaster, Ford's Theatre (1893), 63

Dombey and Son, 117

Dominique, the Deserter, 110

Don Sebastian, 122

Dondero, Rep. George, xiii

Doors, xi, 21, 22, 35, 39, 43, 45, 47, 56, 57, 59, 61, 63;
HABS drawings. Plates II-V, VIII, X-XIV, XVII,
XVIII; Illus., Figs. 14, 17-23, 25, 27, 29, 31, 33, 34,
36, 38, 39, 44, 48, 50, 52, 55, 62 ; restoration notes, 73,
75, 79,81,87,89, 93. {See under North wing; Ford's
Theatre, Washington; Star Saloon; South addition.)

Doyle, Rep. Clyde, xiii

Dress circle, 26, 33, 35, 39, 43, 51, 57, 59, 63, 101, 103,
104; HABS drawings. Plates IV, VI, XII, XIV; Illus.,
Figs. 24, 28, 30, 31, 32, 43; restoration notes, 79,
81, 93; seat plan, 41 (Fig. 29) ; tickets, 37 (Fig. 26)

Dressing room annex, 1. {See North Wing.)

Drops, 47

Drunkard, The, or The Fallen Saved, 111

Dunbar, Richard, 61, 73; contract for alteration of
Ford's Theatre, 71 (Fig. 50)

Dundreary, Lord, 57. {See E. A. Emerson.)

Dutch Actor, The, 1 15

Dyott, John, 53

East Lynne, or The Elopement, 1 18

East wall. {See Ford's Theatre; Elevations; North
wing; South addition; walls.)

Easy Shaving, 1 12

Elevations, architectural, 82, 83, 89; alleyway, rear, 93;
Floors: Basement, 88, 90, 91, 94, 95; lobby. Tenth
Street, 86, 88, 91, 93, 95; orchestra circle, 86, 88, 93,
95; orchestra pit, 93, 95; parquette, 93, 95; dress
circle, 86, 88, 93, 95; family circle, 86, 88, 93, 95;
presidential box, 95, 96; stage, 82, 83, 90-95; paint
bridge, 90, 91, 94, 95; fly gallery, 89, 90, 91, 94, 95;
HABS drawings. Plates VIII-XVI; North wing, 86,
88, 90, 92, 94; South addition, 86, 88, 90-92; Tenth
Street grade, 86, 88, 90, 91, 94; Walls, west (front,
Tenth Street), 87, 93; north, 88, 89, 93; east, 89, 90,
93; south, 89, 91, 93; Windows, 89, 97; Roof, 85, 86,
88-92,94,95

Emerson, E. A., 57

Ernani, 122

Erring and Penitent Wife, The, 118

Ethiopian Melange, 1 16

Evening Star (D.C), 53

Evening Star Newspaper Company, 7

Everybody's Friend, 111, 114, 115, 120

"Exhibit 48", 52 (Fig. 37), 61, 73 n.l5

Fa?ade (front. Tenth Street), xi, 26, 31, 35, 39, 43, 63,
HABS drawings, Plate VIII; Illus., Figs. 12, 14, 17,
18,22,23, 39, 48 ; restoration notes, 8 1

Family circle, 26, 27, 33, 35, 39, 51, 63, 103; HABS
drawings. Plates V, VI, XII, XIV, XVII, XVIII;
Illus., Figs. 24, 28, 31, 32; restoration notes, 79, 81,
87, 93; "Hard" tickets, 37 (Fig. 26). {See also
Benches.)

Family Jars, 109

Fanchon, the Cricket, 107, 109, 117, 119

Fannon, J. T., 109

Fashionable Society, 1 12

Fat Boy, The, 112, 115

Faust and Marguerite, 1 18

Federal troops, xi, 6 1

Fenelon, Eugene, 9, 21

Fenster, Stephen, 13 n.3, 22

First Baptist Church, 5, 6, 17, 19

Flats, 47

Flies, 47

Floors, elevation. {See Elevations, architectural.)

Florence, Mr. and Mrs. W; J., 1 16, 1 17

Fly boys, 22, 45, 82, 83

Fly galleries, 22, 45, 47, 48, 82

Flymen, 45

Footlights, 45, 47, 73

Fort family genealogy, xiii, 6 n. 6

Ford Family Papers, xiii, 65

Ford, Frank, xiii, 5 n.6, 55, 124

Ford, George D., xiii, 5 n.6, 65

Ford, Harry Clay, 5 n.6, 15, 27, 43, 51, 53, 55, 56, 83,
116

Ford, James (Jas.) Reed, 5 n. 6, 27, 35, 51, 53, 83

Ford, John (Jno.) T., xi, xii, 7-9, 11, 13, 15, 17,
19, 21, 25, 26, 33, 34, 47, 53, 61, 63, 65, 69, 79, 87,
103

Ford, Mrs. John T., Ill, xiii

Ford, Karen, xiii

Ford Museum. {See Henry Ford Museum.)

Ford's Atheneum, 9,11,17,21

Ford's Stock Company, 53

Ford's Grand Opera House, 65 ; Ford's Theater (Balti-
more ), xii, xiii, 20 ( Fig. 12),65, 79,81,93

FORD'S THEATRE (Washington) :

Actors, leading list of, 107-122; Auditorium, 33, 37,
45, 83, 93; Basement, 47, 59, 63, 69, 71, 72, 73,
90, 91, 93, 94, 95; Benches, 33, 39, 40, 44, 80,
92, 93, 95, 103; Boxes, 27, 35, 37 39, 43, 47, 73,
101, 103, 104; Presidential box, xi, 35, 41, 43^5,
52, 53, 55, 56, 57, 59, 61, 93, 101, 104; Box office

26, 35, 75, 79, 101; Carpeting, 37, 39, 43, 45, 104;
Ceiling, 34, 83, 84, 92, 93, 95; Chairs, 33, 37, 39,
40, 42, 43, 44, 46, 63, 101 ; Chandeliers, 34, 40, 44,
45, 46, 49, 51, 59, 108; Chimneys, 33, 51, 71, 72,

74, 78, 79, 80, 81, 85, 87, 88, 90, 91, 92, 94, 95;
Clock, xii, 35, 59, 103; Construction, 19-20; Cor-
nerstone, 21 n.44, 22; Cornice, 20, 23, 26, 63, 87;
Dome, see Ceiling; Doors, xi, 21-23, 26, 27, 30-32,
35, 39, 43, 45, 47, 48, 51, 55-57, 59, 61, 63, 73,

75, 79, 81, 87, 89, 93, 124; Dress circle, 26, 33,
35, 39, 43, 51, 57, 59, 63, 79, 81, 93, 101, 103,
104; Elevations, architectural, 82, 83, 85-89, 90-
97; Fagade (front. Tenth St., west wall), xi, 23,
25, 26, 27, 31, 35, 39, 43, 63, 81 ; Family circle, 26,

27, 33, 35, 39, 51, 63, 79, 81, 87, 93, 103; Financ-
ing construction, 17-19; Footlights, 45, 47; Fore-
stage, xi, 45, 59, 104; Foundations, 11, 21, 22, 25-
31, 63, 69, 73, 89; Frieze, balcony, 34, 39, 40, 42,
44, 46, 51, 59, 84; Greenroom, 22, 47, 48, 55;
Heating, 33, 35, 39, 51, 79, 81, 87; Lighting, 34,
39 40, 44, 45, 46, 47, 49, 51, 55, 59, 66, 73, 86,
99; Lobby, 26, 35, 43, 57, 59, 73, 79, 81, 87, 93,
101, 104; Lookouts, 20, 21, 23, 25, 31, 66, 75, 85,
86, 87, 88, 91, 95; Lounge, 33, 39, 55, 66, 78, 81,

131

FORD'S THEATRE (Washington)— Continued

95; Orchestra, 21, 45 n.l63, 57, 59, 69, 73, 93,
116, 123; Orchestra circle, 26, 33, 35, 37, 39, 43,
45, 69, 73, 93, 101, 103, 104; Parquet (parquette)
circle, 33, 35, 37, 73, 79, 93, 101, 103, 104; Pedi-
ment, 20, 23, 26, 87; Pilasters, 20, 21, 23, 26, 27,
31, 32, 66, 86; Productions, List of, 107-122; Pro-
scenium, 43, 45, 47, 63, 83, 104; Rest rooms, 1, 39,
48. 51, 82: Roof, 21, 25, 32-33, 83, 87, 89, 93;
Site, 5, 7, 16, 17; Seating, 19, 33, 35, 37, 39, 43,
55, 56, 59, 73, 81, 101, 103; Square 377, 7, 10, 16;
Stage, xi, 22, 30, 32, 34, 45, 47, 48, 83, 108;
Ventilation, 33, 45, 51, 53, 83, 87; Ventilators, 32,
63, 83, 87; Walls, xi, 21, 22, 23, 25, 26-32, 39, 47,
51, 59, 61, 69, 73, 75, 79, 81, 83, 87, 89, 93; Win-
dows, 21, 23, 26, 31, 32, 35, 47, 79, 81, 83, 87

Forrest, Edwin, 113, 114,120,121

Forty Thieves, 1 15

Forty Winks, 1 1 1

Foster and Sommerget2, 34

Foster Brothers, 115, 116

Foster,;. H,, 114, 115

Foundations, 21, 22, 25-31, 63; HABS drawings, Plates
II, VIII-XIV; Illus., Figs. 6, 19, 20, 76; restoration
notes, 69, 73, 89

Four Sisters, "the, 109, 110,112

Fourth Baptist Congregation, 5

FraDiavola, 122

Frank Leslie's Illustrated Newspaper, 63

Freedley, George, xiii

French Spy, The, or The Siege of Algiers, 1 14

Frieze, balcony, 39; HABS drawings, Plate IV; Illus.,
Figs. 24, 28, 30, 31,32, 36,43

Furnishings and exhibition data, 101—104

Genealogy, Ford Family, xiii, 5 n.6

Getz, Charles S., 34

Gifford, James J., 7, 9, 13, 14 (Fig. 8), 20, 21, 26, 55,
79,89

Gladiator, The, 114, 120

Glenn, S.W., 115, 116

GofF, Frederick R., xiii

Golden Farmer, The, 1 15

Gomersal, Mr. and Mrs. Wm., 118

Good Friday, 56

Governor's Wife, The, 109

Grant, Gen. and Mrs. U. S., 53

Gray, Alice, 112-1 15, 1 18, 120, 121

Green Bushes, or Ireland and America 100 Years Ago,
110

Greenroom. 22, 47, 48, 55; clock, xii, 103

Gridiron, 83 ; door to, 48

Griffith, Elmer Roy, xiii

Grillo, Scipio, 45 71.162

Grimes, U.S. Sen. James W., 19

Grover, Leonard, 7; Grovcr's Theatre. (See Old Na-
tional Theatre. )

Gulager, Chas., 45, 100 (Fig. 55)

Hackett, James Henry, xiii, 53, 105, 110, 112, 113; pro-
gram of, 12 (Fig. 7)
"Hail to the Chief," 57
Hamlet, 109, 113, 118, 120
Handy Andy, 116, 117, 119
Hannon, Camille, xiii
Happiest Day of My Life, The, 1 1 1
Happy Man, The, 117
Harlan, U.S. Sen. James, 19
Harper's Illustrated Weekly, 63
Harrington, George. (See George Christy.)
Harris, Clara, 57
Harris, U.S. Sen. Ira, 57
Hartke, Rev. Gilbert V., O.P., xiii
Haussmann, William M., ix, xiv
Hawk, Harry, 56 (Fig. 40)

Hayden, U.S. Sen, Carl, xiii, 13 n.7

Heath, David W., 17

Heine, Cornelius W., xiii

Heir at Law, 111, 115

Henry Ford Museum and Greenfield Village, 103

HenrylV, 110, 112,113

Heme, J. A. 113, 114

He's Jack Sheppard, 112, 114

Hidden Hand, The, 114, 119

His Last Legs, 115

Historic American Buildings Survey Drawings (HABS

drawings), Plates I-XVIII
Historical data, 5-65
Holland and Company, 34
Holliday Street Theatre (Baltimore), 5, 7, 19, 20 (Fig.

12), 23
Honeymoon, The, 111, 121
"Honor to Our Soldiers," 56 ( Fig. 40 )
Horseshoe Robinson, 111, 113
House District Committee, 17
HR684, 17, 18 (Fig. 11), 19
Hunchback, The, 119, 121
Husband at Sight, A, 1 10
Hyman Construction Company, 28

InandOut of Place, 109,110

Investigation, Congressional, of Ford Theatre Disaster

(1893), 63
Invisible Prince, The, or The Isle of Tranquil Delights,

110
Ireland As It Was, 117
Irish Assurance and Yankee Modesty, 117
Irish Emigrant, The, 1 16
Irish Lion, The, 116, 117
Irish Mormon, The, 1 16
/( Takes Two to Quarrel, 119
Italian Wife, The, 119

Jack Cade, the Bondman of Kent, 114, 120

Jack Robinson and His Monkey, 115

Jackson, Sara D., xiii

Jane Shore, 112, 121

Jealous Stock Broker, The, 117

Jensen, Rep. Ben. F., xiii

Jett, T. Sutton, xiii

Jewess, The, or The Council of Constance, 1 14

John Dobbs, 111

Jonathan Bradford, or The Murder at the Roadside Inn,

114, 115,121
Judge Advocate, War Department, 61

Kahler, Herbert E., xiii

Kalnins, Laima J., ix, xiv

Katherine and Petruchio, 118

Kathleen Mavourneen,OT St. Patrick's Eve, 117, 119

KatyO'Shiel, 109

Keene, Laura, 56 (Fig. 40), 122

Kellogg, Clara Louise, 122

Kemble-Mason, Charles, 112, 113

Kessel, Lillian R., xiii

King Lear, 113, 120

Kirkpatrick, Scott, xiii

Knights of the Round Table, 114, 115

Kretschmar, Mme. Cecilia Y., 115

Lady Audley's Secret, or The Mysteries of Audley Court,

111, 119, 121
Lady Isabel of East Lynn, 112, 119
Lady of Lyons, The, or Love and Pride, 109, 111, 121
La Forza del Destino, 122
Lakes of Killarney, The, 110
Lambert, Sammy, xiii
Lamb, James, 82, 1 16
Lambs Club, 65
La Sonnambula, 122

132

"Laura Waltz," 45 n.l62

Laurini, Peter, xiii

Leap Year, or The Ladies' Privilege, 112, 121

Lessig, Charles W., xiv

Lesson for Husbands, ^,117

Library of Congress, xiii, xiv

Lighting, 39, 45, 47, 51; HABS drawings, Plates VIII,
XVIII; Illus., Figs. 24, 28, 31, 32, 34, 36, 39, 43, 48;
restoration notes, 73

Lincoln, Abraham, ix, xiii, 7, 11, 51, 53, 55-57, 105;
accepts invitation to Ford's Theatre, 53 ; anathema
to personal bodyguards, 57 ; assassination of, ix, xi,
xii, 1, 7, 9, 13, 51, 56-61, 82, 122; at Ford's Athe-
neum, 1 1 ; Ford's Theatre, xiii, 53 ; list of plays
attended, 105; programs of. Figs. 7, 59, 60; death of,
in Petersen House, ix, 61 ; favorite Shakespcrean ac-
tor, xiii, 12 (Fig. 7) ; Great Emancipator, ix; Mar-
tyred President, xi; quoted, 11; sees J. W. Booth in
The Marble Heart, 53, 105, 106 (Fig. 60); story, ix

Lincoln conspirators, trial of, 61 ; court members and
jury visit Ford's Theatre, 61 ; hanging of, xi; Records
of, in National Archives, 125-126

Lincoln Library, plans for, in new Lincoln Museum, 1

Lincoln, Mary Todd, 53, 57, 59

Lincoln Museum, ix, xi, xii, 63, 101; donations to, of
original decorations and furnishings, xii, 101 (Fig.
56), 103 (Fig. 58) ; established in Old Ford's Theatre
Building, ix, xi; restoration plans for, 1, 104; sam-
ples of original materials in, xii, 104

Lincoln story, ix

Lincoln, Tad, 45 n.l62

Little Barefoot, The, 107, 109, 117

Little Gypsies, The, 110

Little Sentinel, The, 109

Little Treasure, The, 109, 1 14

Loan of a Lover, 1 19

Loans, property, 1 7, 19

Locraft, Bernard F., ix, xi, 20, 87, 89

London Assurance, 114

Lord Flannigan, 116

Lot 9, 17,21,26

Lot 10, 7, 16 (Fig. 10), 17,26

Lot 11,7, 17, 19,21,31

Lounge. 33, 39; HABS drawings. Plates IV, XIV; Illus.,
Figs. 39, 48; restoration notes, 81

Love Chase, The, 114,121

Love in Liuery, 114, 115, 120, 121

Love's Sacrifice, 111

Luck, or The Gentleman of Nature, 115

Lucretia Borgia, 120

Macbeth, 113, 118, 120

Maccarthy More, 1 19

Machinery, stage, 47

Maddox, James L., 34

Maid With the Milking Pail, The, 110

Man and Wife, or More Secrets Than One, 1 13

Man of the World, or The Politician, \10, 113

Manager's Daughter, The, 110

Marble Heart, The, 109; J. W. Booth playbill, 106 (Fig.

60)
Margot. or The Poultry Dealer, 109, 117
Market Girl of Paris, The, 1 10
Married Life, 110, 112, 114, 116, 120
Martyred President, xi
Maxwell, Richard S., xiii
May, Juliana, 116

Mazeppa, or An Untamed Rocking Horse, 119
McClure, Stanley W., 79
McCullough, John, 113,114, 120, 121
McDonough, John E., 1 18, 1 19
McGuire, James C, 1 7
McLaughlin, John T., xiii
Mearns, Dr. David, xiii
Medical Museum. {See Army Medical Museum.)

Megill, Hon. H. Newlin, xiii

Merchant of Venice, The, 109, 1 18

Merino, Mme. Marie, 121

Merry Wives of Windsor, The, or Falstaff Outwitted by

Women, 110,113
Metamora, The Last of the Wampanoages, 114, 120
Metzerott, W. G., 7
Miles, John, 82
Military agencies, 13; Record Groups of, in National

Archives, 13 n.8
Aliriam's Crime, 118
Mischievous Annie, 116, 117
MISSION 66, xi, 13, 137
Mitchell, Maggie, 19, 107, 109, 117,119
Mitchell, Mary, 1 14
Model of a Wife, A, 107
Molding, auditorium, 34
Money, 109
Monsieur Jacques, 1 19

Monsieur Mallet, or The Post Office Mistake, 110, 113
More Blunders Than One, 1 19
Morgan, Doris E., 129
Morning Call, A, 107
Motie, Miss Adalina, 121
Much Ado About Nothing, 111, 112, 118
Mummy, 112
Musgine, Wm., 45 n.l62
My Dress Boots, 118
My Neighbor's Wife, 112, 120
My Wife's Maid, \2\
Myers, F., 116

Naiad Queen, The, n, 107, 114, 115

Nan, the Good for Nothing, 110, 111

National Archives, xii, xiii, 13, 125-126

National Capital Parks, 20, 22. {See also Region VI.)

National Intelligencer (D.C.), 19, 25

National Park Service, ix, xi, xii, 1, 13, 63, 104

Nation's capital, ix, xii

New National Theatre, 9, 1 1

New Way to Pay Old Debts, U^

Nicholas Nickleby, 110,121

Nick of the Woods, or The Jibbenainosay, 111, 121, 122

Nobleman's Daughter, The, 109, 110

Noemie, the Foster Sister, 109, 110

nom de theatre, xiii

North dressing room wing, 21,31

North wall. (See Ford's Theatre; Elevations; North
wing; South addition; Walls.)

North wing, 1,17, 22, 30, 31, 47, 48, 51, 63; carpenter
shop, 47, 48, 82; chimneys, 33, 51; Doors, stage,
22, 31; to flies, 22, 48; Dressing rooms, 11, 22, 31,
47, 48, 81, 82; star's, 31 ; elevations, architectural, 86,
88, 90, 92, 94; greenroom, 22, 47, 48, 55; heating, 33;
lighting, 51; HABS drawings. Plates II-V, VII-X,
XII; rest rooms, 1, 51; restoration notes, 79, 81, 82,
83, 87; roof, 33, 51; site, 17; stage manager's office,
48; stairway, 31. 48; survey plat, 16 (Fig. 10) ; Walls,
north, 22; south, 31; east, 30; west, 31; wardrobe
room, 48, 82; Windows, North, 51 ; east, 31, 47; west,
31,48

Northeast annex, 1

O'Brien, William, xiii

Octoroon, The, or Life in Louisiana, 112, 113; poster

of, 58 (Fig. 42)
"Old Drury." {See Holliday Street Theatre.)
Old Ford's Theatre Building, xi, 1, 5, 13, 25, 28, 63;

Illus., Figs, 17, 18, 20, 38, 52
O'Keefe, Patrick, 28
Old National Theatre, 7
Oles, Frank, 129
Olszewski, Dr. G. J., ix, xiv
O'Neil, the Avenger, 111

133

opposite Neighbors, 1 10

Orchestra, 47, 57, 59, 123; instruments, 45, n.l63; mem-
bers of, 2 1, 45 n.l63 ; pit, 45, 47, 69, 73, 93

Orchestra circle, 26, 33, 35, 37, 39, 43, 45, 101, 103,
104; HABS drawings, Plates III-V, XIV; Illus., Figs.
24, 28, 30; restoration notes, 69, 73, 93; seat plan, 38
(Fig. 27) ; tickets, 37 (Fig. 26), 57 (Fig. 41)

Othello, 113, 120

Our American Cousin, HI, 112, 114, 116, 121, 122;
final playbill of, 56 (Fig. 40)

Our Country Cousin, 115, 121

Outalanchet, or The Lion of the Forest, 111, 122

Owens, John E., 110, 111

Paint bridge, 22, 47, 48, 82, 83

Parker, Elmer Orris, xiii

Parker, John F., 57

Parker, Jos., 113

Parquet (parquettc) circle, 33, 35, 37, 101, 103; HABS
drawings, Plate III, XIV; Illus., Figs. 24, 30; res-
toration notes, 73, 79, 93; seat plan, 38 (Fig. 27)

Partition, presidential box, 43, 55

Passageway SL, SR, 47

Pauline, or The Mysteries of the Chateau de Bercy, 112

Paul Pry, or / Hope I Don't Intrude, 111, 112, 114,
120

"Peanuts." (5e« Joseph ("Peanuts") Burroughs.)

Pearl of Savoy, The, or A Mother's Prayer, 1 09, 117

People's Lawyer, The, 1 10, 1 1 1, 1 12

PEPCO. (See Potomac Electric Power Company.)

Peros, John W., xiii

Pcrros, George P., xiii

Pet of the Petticoats, The, 109

Petersen House, death of Lincoln in, 61

Phillips, H. B., 114

Phillips, Wm. H., 17

Pin Rails, 47

Pioneer Patriot, or The Maid of the War Path, 1 19

Pirate's Legacy, The, 120

Pizarro, or The Death of Rolla, 113, 122

Plant, J. K. T., 34

Plot and Passion, 112

Pocahontas, or Ye Gentle Savage, 110, 119

Poliuto, 122

Polkinhorn, Henry, 19

Ponisi, Mme., 120

Poor Gentleman, The, \l\, 121

Poor Pillicoddy, 111! 112

Porter, Dr. Charles, III, xiii

Post of Honor, The, 110, 111

Potomac Electric Power Company, 27-28

Potts, A. R., 17

Powell, Dr. C. Percy, xiii

P. P., or The Man and the Tiger, 120

Precious Betsy, My, 107, 109, 110

Presidential box, xi, 43-45, 52, 53, 55, 56, 57, 59, 61,
101, 104; HABS drawings. Plates IV-VI, XV, XVII;
Illus., Figs. 24, 25, 28, 29, 31, 32, 34, 36, 43, 55; resto-
ration notes. 93 ; tickets, 35

Proctor, Joseph, 111, 121

Prompt desk, 47

Properties, stage, 34

Public Law 86-455, 86th Congress, ix, xi, 13 n.7; PL
372, 83d Congress, ix, 13 n.5

Pulleys, stage, 47

Quartermaster General, War Department, 20, 61, 63

Raybold, Thomas J., 55

Raymond, J. J., 116

Raymond, John T., 1 1 1

Rathbone, Maj. H. R.,57

Rear wall. (See East elevation. )

Rebel Chief, The, 1 1 1

Rebel's Doom, The, or The Death Fetch, 122

Record groups. {See National Archives.)

Records and Pensions, Office of, 63. {See also Adju

tant General. )
Reed, Bushrod W., 19
Reed, Rep. Chauncey W., xiii

Region VI, 63, 104. {See National Capital Region.)
Regional historian, ix, xii. {See Randle B. Truett.)
Retribution, or A Husband's Revenge, 1 18
Returned Volunteer, The, 116, 117
Richard III, 109, 113, 117, 118, 120
Richardson, Col. Ford, xiii
Richelieu, or The Conspiracy, 113, 120, 121
Riggs, George W,, 17

Rip Van Winkle, or A Legend of the Catskills, 1 19
Rivals, The, or A Trip to Bath, 112, 120
Robbers, The, or The Forest of Bohemia, 109, 120
Robert Macaire, 115
Roberts, J. B., 118
Roberts, Hon. Ralph R., xiii
Rogers, B.G., 115

Romeo and Juliet, 109, 111, 114, 116
Roof, 21, 25, 32-33; HABS drawings, Plates VII-XIV

hatches, 33, 87; Illus., Figs. 14, 17, 20, 22, 23, 48, 50

restoration notes, 83, 87, 89, 93; trusses. Figs., 15, 16

ventilators, 32, 63
Ropes, border, 47
RoryO'More, 117
Rosedale, or The Rifle Ball, 112
Rough Diamond, 1 18
Russian Admiral, The, 1 12
Rowe, Abbie, xii, 1 1, 24, 25, 27, 82, 108

Sarah's Young Man, 111

Satanella, 1 1

Scenery, 47

School for Scandal, The, 111, 112

School of Reform, 120, 121

Schutter and Lamb, 34

Schwengel, Rep. Fred., xiii

Secret, The, or The Hole in the Wall, 109, 122

Secretary of War, xi, 61. {See also Hon. Edwin M.
Stanton.)

Self, 1 1 1

Senate District Committee, 19

Senor Valiente, or The Soldier of Chapultepec, 1 13

Serious Family, The, \ll, 116, 119, 120

Seven Sisters, The, 118, 119

Sewell, Lt. John S., C. E., 25, 75, 89

Shandy Maguire, 116, 117

Shea, Jeanne, xiii

Sheldon, W. P., 116

She Stoops to Conquer, or The Mistakes of a Night, 1 14,
120, 122

She Would and He Wouldn't, 1 1 8

Shocking Events, 121

Shylock, or The Merchant of Venice Preserved, 1 19

Single Life, The, 112

Sketches in India, 114, 115

Small, George W., 19

Soldier's Daughter, The, 1 14

SoUers, John Ford, xiii, 19

Solon Shingle, 119

Somebody's Coat, 1 12, 120

South addition, 17, 31, 51, 81, 87, 89. {See also Lot 9;
Star Saloon.)

South walls. {See Ford's Theatre; Elevations; North
wing; South addition; walls.)

Souvenir hunters, 61

Spangler, Edward ("Ned"), 55

Speaker of the House, 1 7

Square 377, 7, 16 (Fig. 10.) {See also Lots 9, 10, 11.)

Stage, xi, 22, 30, 32, 34, 45, 47, 48, 104; HABS draw-
ings. Plates III-V, XII-XIV; Illus., Figs. 24, 25, 27,
31, 32, 35, 36, 37, 43, 44, 61; restoration notes, 69,
73,75,82,83,89,93

134

xi, 61

59: HABS drawings, Plates

Illus., Figs. 14, 22, 23, 39;

(See also South addition; Peter

111

Stage door, rear, xi, 30, 47 ; Tenth Street, 32, 47
Stage Struck, 1 16
Stanford, S. S., 116
Stanton, Hon. Edwin M.,
Star Saloon, 1, 33, 51,

VIII, X-XII, XVIII;

restoration notes, 89.

Taltavul. )
Stewart, Charles, 34
Stewart, Hon. J. George, xiii
Stock, original subscribers to, 19
Story of Peggy the Actress, The, 122
Stranger, The, or Misanthropy and Repentence,

112, 118,121
Streets of New York, The, 1 20
Surgeon General, War Department, 61, 63. {See also

Army Medical Museum.)
Surjalla, S., xiii
Swigart, Paul E., xiii

Taltavul, Peter, 5 1 , 75 . (See also Star Saloon. )

Tamaro, Signor Giuseppe, 121

Taming of the Shrew, 109, 114

Taylor, Tom, 53

Tenney, Franklin, 17

Tenth Street Baptist Church, 5, 6

ThalianHall,xii, 81,93

Three Guardsmen, The, 115, 116

Thrice Married, or Lucky Stars, 116, 117

Toodles, 109, 110, 111,112, 114, 115,120,121

Train, Rep. Russell B., 17

Trapdoors, 47

Treasury Department, 61; final settlement, purchase of
Ford's Theatre, 64 (Fig. 46) ; Treasury Guards flag,
61;Illus., Figs. 28, 32, 34, 56

Trenchard, Florence (Laura Keene), 57

Truett, Randle B., ix, xiii. (See also Regional his-
torian.)

Two Gentlemen of Verona, 115

Two Murderers, 1 14

Union forces, 53

Virginius, The Roman Father, 113, 121
Victims, The, 1 1 1

Wagner, Herr, 1 16

Walcot, Mr. and Mrs. C. M., Jr., 112

Wallach, Richard, 17

Walls, xi, 2, 22, 25, 39, 43, 51, 59, 61 ; HABS drawings.
Plates II-IV; Illus., Figs. 6, 12, 14, 17-23, 38, 39, 47,
48, 51, 52; restoration notes, 69, 73, 75, 79, 81, 83, 87,
89, 93. (See also Elevations, West, north, east, south;
North wing ; Ford's Theatre, Washington ; Star Saloon ;
South addition; Foundations.)

Wandering Boys, The, 110

War Department, 20, 63, 89, 93. (See under Adju-
tant General; Army Medical Museum; Corps of En-
gineers; Federal troops; Judge Advocate; Military
agencies; Quartermaster General; Records and Pen-
sions, Office of; Secretary of War; Surgeon General.)

Ward, Philip P., xiii

Washington, D.C., 53, 61

Washington, Gen. George, 123; engraving of, 55, 61,
101, 103. (See also Presidential box.)

Washington Post, 103

Washington Sunday Chronicle, 33

Washington Theatre Company, 17-19. (See HR 684.)

Waters, Dr. E. N., xii, xiii

Watkins, H., 119

Webb, Ada, 109, 110

Webb, Emma, 109, 110

Weber, Louis, 45 n. 162

Wept of the Wish-Ton-Wish, 109

West wall. (See Ford's Theatre; Elevations; Fagade;
North wing; South addition; Walls.)

Wheatleigh, Charles, 107

Wheelock,J., 118

WhiteHouse, 53, 57

Wife, The, A Tale of Mantua, 120

Windows, 21, 23, 31, 32, 35, 47; HABS drawings, Plates
III-V, VIII-X, XII; Illus., Figs. 12, 14, 16-23. 38,
39, 48, 52, 54; restoration notes, 79, 81, 83, 87, 89.
(See also Elevations, West, north, east, south; North
Wing; Ford's Theatre, Washington; Star Saloon;
South addition; Lintels.)

Wine Works Wonders, 113

Wirth, Conrad L., ix, 13 n.6

Withers, Reuben, 45 n.l63

Withers, William, Jr., 56, 57,61, 113, 115, 116

Whitney and Company, 34

Woman, or Love Against the World, 112

Wonder, The, or A Woman Keeps a Secret, 120

Wreck Ashore, The, 121

Wright, John B., 9, 116

Workmen of Washington, The, 122

Yankee Housekeeper, The, 116, 117

Young Actress, The, 116, 117

Young England, 111, 113

Young, U.S. Sen. Milton R., xiii, 13 n.5

Young Widow, 116

Your Life's in Danger, 112

Youth Who Never Saw a Woman, The, 109, 114

Zablocki, Rep. Clement J., xiii
Zucchi, Signora Carozzi, 122

135

MISSION 66

MISSION 66 is a program to be completed by
1966 which will assure the maximum protection
of the scenic, scientific, wilderness, and historic
resources of the National Park System in such ways
and by such means as will make them available for
the use and enjoyment of present and future
generations.

Under this program, outmoded and inadequate
facilities will be replaced with physical improve-
ments adequate to meet the heavy demands of
increased visitation. These improvements will be
so designed and located as to reduce the impact of
public use on valuable and destructible features.

The program seeks to provide visitor services of
the quality and quantity that the public is entitled
to expect. At the same time, it strives for the full-
est possible degree of protection for both visitors
and resources.

With specific reference to this National Monu-
ment, MISSION 66 will completely restore Ford's
Theatre to its original appearance as of the night
of April 14, 1865; install the Lincoln Museum with
modern exhibits of contemporary design in the
basement; and restore the Star Saloon and north
wing of the theatre to their original appearance.

137

Created in 1849, the Department of the Interior — America's De-
partment of Natural Resources — is concerned with the management,
conservation, and development of the Nation's water, wildlife, min-
eral, forest, and park and recreational resources. It also has major
responsibilities for Indian and Territorial affairs.

As the Nation's principal conservation agency, the Department
works to assure that nonrenewable resources are developed and used
wisely, that park and recreational resources are conserved for the
future, and that renewable resources make their full contribution to
the progress, prosperity, and security of the United States — now and
in the future.

138

U.S- GOVERNMENT PRINTING OFFICE : 1963 O 688-440

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