History

John Wilkes Booth’s Richard III

NOTE: The live event has already occurred but you can still watch a video of the production embedded below.

Tonight (2/2/2016) at 7:00 pm CST (8:00 pm EST) a very special staged reading of Shakespeare’s Richard III will be enacted by the Harry Ransom Center at the University of Texas at Austin. The Hidden Room Theatre troupe will be recreating the production as it appeared using a promptbook which belonged to, and was annotated by, John Wilkes Booth.

John Wilkes Booth's Richard III promptbook

John Wilkes Booth was famous for his portrayal of Richard, Duke of Gloucester, and he regularly opened his engagements in different cities with Richard III. Booth’s first full appearance as Richard occurred on October 5, 1860 and his last was on May 12, 1864. Between those two dates he performed the lead role a total of 115 times. Richard was truly Booth’s title character and the one he was most known for. The adaptation of Richard III that Booth used for the role was one that was filled with sword fighting and intensity that suited the younger Booth well. Just as Edwin Booth is known today as being the world’s greatest Hamlet, John Wilkes Booth could have been remembered as the world’s greatest Richard, had he not chosen a different path.

The Harry Ransom Center has in its collection one of only two known promptbooks belonging to John Wilkes Booth. The complete book has been scanned and is available digitally HERE. The book is filled with John Wilkes Booth’s handwritten instructions and cues regarding how his version of Richard III should be staged and enacted. It makes alterations to the printed script’s directions and adds supplemental material on how he wanted scenes to go. Promptbooks were common for stars to send out to different theaters ahead of their engagements. The stock actors in the theater’s company would then read the book in order to know how a particular star wanted “their” version of the play to go.

Usually, other than traveling back in time ourselves, reading through John Wilkes Booth’s promptbook would be the best way to get an idea of what Booth’s acting looked like. However, tonight, John Wilkes Booth’s promptbook will be used as the source material for a production of Richard III. The event will be streamed live over the internet on the Harry Ranscom Center website. The live stream is scheduled to start at 7:00 pm CST and can be accessed by clicking this link: http://www.hrc.utexas.edu/multimedia/webcast/

During the event, Harry Ransom curator Eric Colleary will be live tweeting the event and answering your questions about the production and source material. You can follow along with the discussion on Twitter with the hashtag #BoothR3.

I hope you are able to watch this unique production tonight. It is the closest we are able to get to actually watching John Wilkes Booth himself on the stage. For more information, please check out this program from the Harry Ransom Center.

Categories: History | Tags: , , , | 5 Comments

Treasures of the Dr. Samuel A. Mudd House Museum

Dr Mudd House 2015-11

Located off of Dr. Samuel A. Mudd Road in Waldorf, Maryland is, appropriately, the Dr. Samuel A. Mudd House Museum. Situated on 197 acres of farmland, the museum tells the story of Dr. Mudd and his involvement with the tragedy of 1865.

Dr. Samuel A. Mudd

There are so many fascinating objects to see at the Mudd House. In fact, one could return time and time again and still find new items of captivating interest.  The following are just a few of the countless treasures to be found at the Dr. Mudd House Museum.

A Doctor’s Life (Prior to 1865)

Dr. Mudd’s Medical Book

Mudd medical book

Dr Mudd's name on medical book

Mudd medical book interior

This volume of Beck’s Materia Medica (the text of which can be read online here) was owned by Dr. Mudd and was conceivably used by him while he was studying for his degree in medicine. Perhaps he also consulted this book from time to time during his practice. In addition to his name being written on the cover of the book, there is also an interior inscription of “Saml. A Mudd MD, Bryantown Char. Co., M.D.” While Dr. Mudd’s handwriting changed over time, the interior inscription does appear to match the handwriting on Dr. Mudd’s doctoral thesis, making it likely that he wrote the inscription himself. This book is sometimes seen laying out on the secretary in the doctor’s office or is otherwise shelved with some other medical books.

Dr. Mudd’s Mortar and Pestle

Mudd's mortar and pestle

In his occupation as a physician, Dr. Mudd owned and used this mortar and pestle to create medicines for his patients. It is on display in the doctor’s office.

Clay Jars made by Dr. Mudd’s slaves

Jars made by Dr Mudd's slaves

The practice of medicine was largely secondary to Dr. Mudd, who was first and foremost a plantation owner with a large farm. Dr. Mudd own several slaves who worked in his fields tending to his crops and in his home doing domestic chores. These clay jars, on display in the kitchen of the Mudd house, were made by some of the Mudd family slaves. Dr. Mudd could be a very harsh master at times and at the trial of the conspirators several of his former slaves testified against him. One of his former slaves, Elzee Eglen, recounted how Dr. Mudd had shot him for being “obstreperous” and then threatened to send him south to Richmond to build defenses for the Confederacy. Elzee escaped from slavery by running away from Dr. Mudd’s farm in 1863. On the other hand, a few of Dr. Mudd’s slaves testified in his favor and stated that he was a kind master. After Emancipation, three of Dr. Mudd’s slaves stayed with the family and continued to work for him for several years. We do know that Dr. Mudd participated in “slave catching posses” to recapture escaped slaves. At the very least, Dr. Mudd’s strong ties to slavery and the cause of the Confederacy dispels the concept that he was “a Union man,” as he tried to paint himself after being arrested. To learn more about those held in slavery by Dr. Mudd, I recommend the book, The Doctor’s Slaves by Robert K. Summers.

The Booth Sofa

Booth Sofa Mudd House

The centerpiece of the Mudd House parlor is an antique settee. This small sofa is undoubtedly the most iconic item on display in the Dr. Mudd House and the most photographed piece in the museum. After the assassin of Abraham Lincoln and his accomplice arrived at the Mudd farm during the early morning hours of April 15, 1865, the injured assassin was brought inside and laid upon this couch. It was while here that Dr. Mudd first examined the leg of John Wilkes Booth.  To subsequent generations of the Mudd family, this couch perfectly personified the desired mythology for Dr. Mudd. This settee was an innocent bystander, a piece that unknowingly gave comfort to an assassin. One can not place blame a sofa for being laid upon just as one cannot blame a doctor for fulfilling his Hippocratic Oath. However, while the sofa is free from any wrong doing, history has proven that Dr. Mudd had known Booth long before the assassination and likely provided assistance in Booth’s plot to abduct Abraham Lincoln.

Mrs. Mudd’s Painting

Mrs Mudd's Painting

On the wall of the bedroom where John Wilkes Booth slept during most of the daytime hours of April 15, 1865, hangs a beautiful painting called, “The Sleeping Beauty.” This painting was painted by Sarah Frances Dyer, Dr. Mudd’s wife. She painted this portrait when she was in school and it demonstrates Mrs. Mudd’s creative talents.

Wood Working to Pass the Hard Time (1865 – 1869)

A. Fort Jefferson

Many of the unique treasures contained in the Mudd house consist of objects Dr. Mudd created while carrying out his prison sentence at Fort Jefferson. During his imprisonment, Dr. Mudd (and the other prisoners) tried their hands at various crafts and trades to help pass the time. The imprisoned conspirators often sent boxes of crafts and carpentry projects back home to their loved ones. Here is a newspaper article which mentions the Lincoln conspirators’ handiwork:

Gifts from Fort Jefferson article

The following artifacts, on display at the Mudd house, are all items created by Dr. Mudd while he was in prison.

Shark Cartilage Cane

Dr Mudd Cane

Fort Jefferson is located approximately 67 miles west of Key West, Florida. This island prison was so isolated and the threat of survivable escape from it was so low that prisoners were allowed almost complete access to the entire island. As such, there were many chances for Dr. Mudd and the others to collect specimens from the tropical waters. Dr. Mudd made several canes and walking sticks while at Fort Jefferson but this one has the unique feature of being decorated with shark cartilage likely scavenged from the remains of a shark that had washed up on the Dry Tortugas. This cane is displayed on the bed in Dr. Mudd’s bedroom.

Book of Pressed Flowers

Dr Mudd's pressed flowers

Though a limited amount of flora grew on Fort Jefferson due to the lack of fresh water, Dr. Mudd still took the time to collect samples of flowers and leaves from the island’s vegetation. He put his specimens into this album, which appears to have been originally created to hold CDVs, common photographs of the day. This book is on display in a case in the second floor hallway.

Letter Opener

Mudd letter opener

Dr. Mudd created this plain yet practical letter opener while at Fort Jefferson. It is displayed in the second floor case.

Frame of Shells

Dr Mudd Frame of Shells

Though fresh water was scarce, what was not lacking on the shores of Fort Jefferson’s beaches were shells. As such, Dr. Mudd took to collecting shells and affixing them to many different objects. This frame decorated by shells is in the second floor display case.

Jewelry Boxes

Mudd jewelry box 1

Mudd jewelry box 2

The Dr. Mudd House displays two jewelry boxes built by Dr. Mudd which he ornately encrusted with a plethora of seashells. Another jewelry box created by Dr. Mudd appeared on Antiques Roadshow several years back.

Cribbage Board

Dr Mudd's cribbage board

Jewelry boxes and cribbage boards appear to have been the most popular items to construct when spending time at Fort Jefferson. In 1867, Dr. Mudd’s fellow conspirator Edman Spangler sent a package of gifts to his former employer John T. Ford. The package contained several items to be distributed among the friends and families of Spangler, Dr. Mudd, Samuel Arnold, and Michael O’Laughlen. The items were four decorated boxes and six cribbage boards.  So it appears that the conspirators had a veritable cribbage board factory at Fort Jefferson and honed their skills making them. This board, said to have been created by Dr. Mudd, is in the second floor display case.

Checkerboard Tabletop

Dr Mudd's checkerboard top

This checkerboard tabletop, created by Dr. Mudd, is affixed to a small table just inside the front door of the Dr. Samuel A. Mudd House Museum. It demonstrates Dr. Mudd’s increasing skill at inlay and marquetry. It is worth noting that lumber was fairly scarce on the islands of the Dry Tortugas. These pieces would have been made with either driftwood that washed up on the shore, or with surplus wood from the Fort’s carpentry shop where Dr. Mudd was sent to work alongside Edman Spangler.

Circular Game Table

Dr Mudd's inlaid table

As Dr. Mudd’s time on Fort Jefferson increased, it appears he became more and more adept at woodworking and general carpentry. This game table shows great skill and is likely due to the teachings of his fellow inmate, Edman Spangler, who had been a carpenter by trade. Spangler helped construct the Booth family home of Tudor Hall many years before he was employed by John T. Ford to work as a carpenter and scene shifter in his theaters. It is likely that Spangler gave lessons in carpentry to his fellow prisoners and assisted Dr. Mudd in the creation of this table. It is on display next to the Booth sofa in the front parlor of the Mudd house.

A Familiar Guest (1873 – 1875)

As we know, Dr. Mudd eventually secured a pardon from President Andrew Johnson due to his conduct during a Yellow Fever epidemic that swept Fort Jefferson in 1867. That epidemic took the life of Michael O’Laughlen, one of the other Lincoln conspirators. President Johnson pardoned Dr. Mudd shortly before the end of his term. He also pardoned the two remaining conspirators, Samuel Arnold and Edman Spangler. The men had bonded quite a bit due to their shared ordeal and circumstances. Though they parted ways, there was a reunion of sorts between Dr. Mudd and his teacher of carpentry, Edman Spangler.

Spangler Icon

Spangler originally went back to work for John T. Ford in his theaters. John T. Ford always believed in his employee’s innocence and worked hard to get Spangler released. However, when Ford’s Holliday Street Theatre in Baltimore burned down in 1873, Spangler found himself out of a job. Spangler made his way to Dr. Mudd’s farm where he was welcomed in with open arms. Spangler lived with the Mudds for about 18 months doing carpentry, gardening, and other farm chores. Some of the artifacts on display at the Mudd house were owned or built by Edman Spangler.

Doll Chairs

Spangler doll chairs

These doll chairs, on display in the second floor case, were made by Edman Spangler for Dr. Mudd’s young children. Nettie Mudd, the doctor’s youngest child, recalled that Spangler’s, “greatest pleasure seemed to be found in extending kindnesses to others, and particularly children, of whom he was very fond.”

Spangler’s Wood Plane

Spangler's wood plane 1 Mudd house

This wood plane, used in carpentry work to flatten and smooth a piece of wood, belonged to Edman Spangler and he likely used it while doing carpentry projects around the Mudd farm. It is usually regulated to a shelf in the doctor’s office but if you ask about it, and your docent is willing, he or she may take it out so that you can see the stamped ends that bear Spangler’s name.

Spangler's wood plane 2 Mudd house

Spangler’s Dresser

Spangler's dresser Mudd house

This dresser was made by Edman Spangler while he lived at the Mudd farm. Today, this piece furnishes the children’s bedroom, a fitting place due to Spangler’s affinity for children.

Spangler’s New Testament

Spangler's New Testament from Ewing

In the second floor display case of the Mudd house is a 1861 copy of the New Testament which belonged to Edman Spangler. It was inscribed to him by Mrs. Ewing. At the trial of the conspirators, Edman Spangler was one of the last to find legal representation and it was essentially appointed to him by the court. His lawyer was General Thomas Ewing, Jr. Ewing had already been hired to defend Dr. Mudd and Samuel Arnold and was then asked to defend Spangler as well when the latter could not find any other representation. When Mrs. Ewing, the wife of Spangler’s lawyer, gave him this New Testament is unknown. However, whether he received it in the midst of the trial or at its conclusions when his fate was known, Spangler likely read thorough it for guidance and hope during the dark days at Fort Jefferson. It was found among his things when he died in the Mudd house on February 7, 1875. Edman Spangler died at the age of 49 while being cared for by his good friend, Dr. Mudd.

Endings and Beginnings (1883 – Present)

Dr. Mudd’s Original Gravestone

Mudd Outbuilding with grave

Dr. Samuel Alexander Mudd died on January 10, 1883 at the age of 49. He was interred at St. Mary’s Catholic Church Cemetery where his parents were buried. Dr. Mudd’s wife, Sarah Frances, outlived her husband by 28 years before passing away in 1911. She was buried alongside her husband but for many years had no stone of her own. Around 1940, some of Dr. and Mrs. Mudd’s descendants decided to replace Dr. Mudd’s old headstone with a new one that would include both of their names. This was also deemed advantageous to do because there was a mistake on Dr. Mudd’s original tombstone that needed to be corrected. When the gravestone was replaced, Dr. Mudd’s old headstone was brought back to the farm. It was eventually placed in an old chicken coop located right behind the Mudd house. Look closely at the image below and see if you can find the mistake on Dr. Mudd’s original headstone.

Former Mudd Stone

The Dr. Samuel A. Mudd House

One cannot discuss the wonderful treasures in the Dr. Samuel A. Mudd House Museum without acknowledging the treasure that is the restored house museum itself. Dr. Mudd’s home continued to be owned and lived in by his descendants all the way up to the present day. As a family home, it underwent its share of upgrades and changes. In the 1970’s, the house looked quite a bit different than it did in Dr. Mudd’s day:

Dr. Mudd House circa 1970

It is very fortunate that generations of the Mudd family came together in the 1970’s and embraced the house’s historical importance. They choose to restore the house to its 1865 appearance and open it as a museum. The earliest known photographs of the Mudd house, like this one from 1895, were consulted during the restoration in order to duplicate the exterior of the home as accurately as possible.

Mudd house 1895 Victor Mason

Dr. Mudd House 1

Today, the restored Mudd house sits on almost the same amount of land it did in 1865, preserving the historic landscape that John Wilkes Booth and David Herold saw when they departed the home after receiving aid.

Mudd house landscape

Click to enlarge

Even ignoring the massive repository of items and artifacts relating to Dr. Mudd’s life and saga, the Mudd house is definitely a treasure all its own.

Plan Your Visit (The Future)

Despite the numerous artifacts highlighted in this post, there is still so much to see at the Dr. Samuel A. Mudd House Museum. There’s Mrs. Mudd’s original cruet set, the Mudds’ original sideboard table, a large format photograph taken of Dr. Mudd at Fort Jefferson, a secretary built by Dr. Mudd while in prison, keys said to be from Dr. Mudd’s prison cell, a chair from Ford’s Theatre, and so much more. Just to see these artifacts in person is worth the $7 admission price. The Dr. Samuel A. Mudd House Museum closes down for the winter season so you have plenty of time to plan your future visit to this very worthwhile museum. Please visit DrMudd.org for more information.

References:
The Dr. Samuel A. Mudd House Museum
The Doctor’s Slaves by Robert K. Summers
The Assassin’s Doctor by Robert K. Summers
American Brutus by Michael Kauffman

Categories: History | Tags: , , , , , | 26 Comments

John Wilkes Booth’s “Mysterious Beauty”

“Some Photographs of Females”

After John Wilkes Booth was shot and pulled from the Garretts’ burning tobacco barn, his body was subjected to a search. While the assassin of President Lincoln lay paralyzed and dying on the front porch of the Garrett farmhouse, the detectives rifled through his pockets, removing pieces of evidence. The items the detectives discovered worked to confirm his identity (which was never really in question), and gave them the evidence they needed to prove back in Washington that Booth had, indeed, been taken. With reward money on their minds, such proof was of the utmost importance. Detective Everton Conger was so anxious to spread the news that Booth had been captured that he departed with some of Booth’s possessions before Booth had even died. One of the objects Conger brought back to Washington with him was Booth’s diary, which contained the photographs of five ladies.

Historians Richard Sloan and Art Loux view the five photographs found on John Wilkes Booth's body when he was killed. The man in the middle is former Ford's Theatre curator Michael Harmon.

Historians Richard Sloan and Art Loux view the five photographs found on John Wilkes Booth’s body when he was killed. The man in the middle is former Ford’s Theatre curator Michael Harmon.

These images, like the diary itself, were turned over to the War Department, where they languished for quite some time. Booth’s collection of ladies was deemed unimportant to the official investigation. They were eventually boxed up along with other evidence used at the trial and Booth’s other possessions. They were stored with the War Department files in the Judge Advocate General’s Office.

It was quite some time before the existence of these photographs became known to the general public. When the text of John Wilkes Booth’s diary was published for the first time in 1867, the affidavit attached to it from Secretary of War Edwin Stanton stated that only the quoted entries and “some photographs of females” comprised the contents of the diary. There appears to have been no follow-up or inquiry about who these females were or why Booth had their photographs in his diary. It wasn’t until several years later, when the occasional newspaper reporter convinced the Judge Advocate General’s Office to let them take a peek at the relics of the assassination, that any discussion of the photographs began.

An inquisitive reporter with the Cleveland Herald visited the relics in the JAG office in 1884. Entranced with the more vivid relics such as Booth’s derringer and pieces of Lincoln’s skull, the reporter only made a passing mention of the ladies in Booth’s diary. He stated, “Among the articles found in the ‘pocket’ of the book are five photographs of young women, presumably actresses.” It appears that the identities of the ladies in Booth’s pocket had not been researched much prior to this, seeing as this reporter was given no information about who they were.

Visitors to see the relics were relatively scarce, and those who were able to view the artifacts could only do so with advance permission from either the Secretary of War or the Judge Advocate General. The artifacts were viewed by “about three or four people a year,” considerably slowing down the process of identifying the ladies. It was essentially left to the few clerks who acted as custodians over the relics to attempt to identify them, which they did with varying degrees of success.

Effie Germon and Lucy Hale

It appears that the identities of two of the ladies contained in Booth’s diary were identified a bit earlier than the rest. A reporter who was given access to view the relics in 1891 was correctly told that two of the images in the set were of actress Effie Germon and of “a daughter of one distinguished Senator from a New England state.”

On the night of Lincoln’s assassination, Effie Germon was performing the lead of Aladdin at Grover’s National Theatre in D.C. In the audience was young Tad Lincoln, who heard the news of his father’s assassination when the play at Grover’s was halted to announce the tragedy. The 1891 reporter was kind in describing the image Booth possessed of this easily recognizable star of the stage, “Miss Effie Germon, once leading lady at Wallack’s, is one. It is a fair young face, strikingly beautiful.” However, the reporter is not so kind when he relates Ms. Germon’s current state, “Miss Germon, if living, is now an old woman, and they say she is fat.”

Lucy Hale was the daughter of U.S. Senator John Parker Hale of New Hampshire. She was also John Wilkes Booth’s secret fiancée. The main evidence for believing that Booth and Lucy were actually in love is not only the collections of the Booth family who supported the idea of an engagement, but also from Booth’s own words. Some of Booth’s final thoughts were of Lucy, and this is demonstrated in his diary.

It is largely forgotten or ignored that the very first words written in Booth’s diary are “Ti Amo.” “Ti Amo” is Italian but seems to be an understandable misspelling of the Spanish “Te Amo.” Regardless, both translate into English as “I love you”. This announcement of love, coded a bit, seems out of place in Booth’s diary. Before starting his manifesto about why he shot the President, John Wilkes Booth was compelled to write a brief note of love to someone. It seems likely that this message was meant for Lucy Hale.

Ti Amo

Prior to the assassination, Lucy’s father, Senator Hale, had been appointed as a minister to Spain.  All of the Hales were in earnest to learn some Spanish before heading abroad with their father. Lucy vowed to John Wilkes that she would return in a year, with or without her father’s permission, in order to marry him. Lucy lived in the same Washington hotel as Booth, and he would have almost assuredly witnessed his fiancée practicing Spanish.

It may be a romantic idea, but it’s possible that the Ti Amo in Booth’s diary was his final message to the woman he loved. It was a message Lucy would know was meant for her and for no one else. It was a way for him to announce his love for her, for the last time, without endangering her further.

What would have become of Booth and Lucy’s relationship had he not assassinated the President is unknown. Perhaps it was always doomed to fail due to Booth’s womanizing, as evidenced by his diary’s collection of other beautiful women. Still, the presence of Lucy’s image and the coded “I love you” message in Booth’s diary could easily demonstrate that, in his final days on the run, John Wilkes Booth thought of, and loved, Lucy.

Mistakes and Misidentifications

Though it was correctly concluded that Effie Germon and Lucy Hale were among those represented in Booth’s photographs, this did not mean that they were always identified correctly. In 1891, a reporter was shown the relics by a clerk of the Judge Advocate General’s office named Mr. Saxton. You can read the reporter’s article about the visit by clicking this line. Unfortunately, Mr. Saxton appears to have been all mixed up when it came to which image was of which woman.  In addition, he provided incorrect identifications for the rest of the images and only seemed to show the reporter four out of the five images.

Mr. Saxton’s mistakes and misidentifications, which demonstrate the JAG office’s lingering uncertainty about who these women were, are as follows:

Actress Alice Grey was mistaken for fellow actress Effie Germon:

Lucy Hale was misidentified as a singer named Caroline Richings:

Actress Helen Western Poet Laura Redden was mistaken for actress Olive Logan by the reporter before Mr. Saxton misidentified her as Lucy Hale:

And actress Effie Germon was mistaken for another actress named Rose Eytinge:

While we may laugh today about the numerous mistakes in Mr. Saxton’s 1891 identifications, it does demonstrate that there was somewhat of an attempt by someone in the JAG office to learn the identities of these women. This leads us to the last image in the set of photographs and the case of John Wilkes Booth’s “Mysterious Beauty”.

“The Mysterious Beauty”

Fannie Brown CDV

We know that, eventually, the first four vignetted photographs were identified as Alice Grey, Effie Germon, Helen Western, and Lucy Hale. It is likely that the clerks of the JAG office consulted a few more visitors who possessed far better knowledge about the theatrical leading ladies of the 1860s, and that they helped fix the mistakes. However, even after four of the five women were identified, the identity of the woman in the last image remained uncertain. This woman, her image different from the rest in that it showed her full body rather than just a vignette of her face, was still unknown. A more active search was undertaken to learn who she was.

As has been demonstrated by other images of artifacts in possession of the Judge Advocate General’s office (this one, for example), the items relating to Lincoln’s assassination were not always treated with the same degree of preservation or care as they receive today. Some of the smaller pieces found on Booth’s body have mysteriously disappeared over the years, including a small horseshoe charm, a diamond stick pin, and a Catholic medallion. In addition to these losses, the clerks at the JAG office even burned some of the clothing collected as evidence when moths began to eat away at it. Modern museum curators would cringe at the way these artifacts were locked in a box with no regard for temperature or humidity.

It is, therefore, unsurprising that the images of Booth’s ladies would also be subjected to neglect or ignorant mistreatment. Such was the case when one of the custodians of the artifacts decided he really wanted to know the identity of the woman in the standing photo. Until she was recognized, some unnamed clerk nicknamed her “The Mysterious Beauty” and went so far as to write that moniker on the bottom of the original image itself.

The Mysterious Beauty Cabinet card

One must remember that the entire collection of assassination-related artifacts stored by the Judge Advocate General’s office was still considered to be official evidence and property of the U.S. government. In the years after the assassination, several organizations had tried, and failed, to gain ownership of the artifacts. There were even efforts by various Judge Advocate Generals to rid themselves of the pesky items that garnered such macabre interest. The items were almost transferred to the Smithsonian before the Judge Advocate General’s office declared that even if they were transferred to the Smithsonian, the government would still own them, and the Smithsonian essentially couldn’t do anything with them other than store them. After that, the Smithsonian was no longer interested.

With this in mind, it is amazing to picture a clerk of the Judge Advocate General’s office casually taking this CDV, a piece of government-owned evidence that even the Smithsonian couldn’t be trusted with, out of the JAG office and into the Washington streets. The clerk walked to the nearby photography studio of J.J. Faber and had the photographer duplicate the image with “The Mysterious Beauty” inscription onto larger format images known as cabinet cards. A photocopy of one of the cabinet cards is pictured above. How many copies were made of this image is unknown, but it is likely that the unnamed clerk made enough copies to pass around. The original, defaced image was subsequently returned to its governmental prison.

How long it took to correctly identify this beauty after her image was duplicated and passed around, or who made the correct identification, is unknown, but the unnamed clerk’s effort eventually paid off. On the back of the photocopied cabinet card pictured above (which was sent to author Francis Wilson in the 1910’s – 1920’s as he was working on his book about John Wilkes Booth), the following statement was recorded:

“The original of this picture was found, after his death, in the diary of John Wilkes Booth, the assassin of President Lincoln. It was not known for a long time who the subject of the picture was and the custodian of the ‘Booth diary’ and other articles connected with the great tragedy, stored in the archives of the War Department, had some copies made of it for the purpose of identification. It was finally recognized as being the picture of Fanny Brow, an actress who died many years ago. Since that time the words “The Mysterious Beauty” have been effaced from the original in the War Department.

War Department
Office of the Judge Advocate General

John P. Simonton
Custodian”

Indeed, this final image was determined to be that of actress Fanny Brown.

Revealed at last, John Wilkes Booth's "Mysterious Beauty" was Fanny Brown.

Revealed at last, John Wilkes Booth’s “Mysterious Beauty” was Fanny Brown.

Fanny Brown had known John Wilkes Booth since at least 1863, when they performed together throughout cities in New England. Gossip of the day even hinted at a romantic relationship between the pair, which would not be surprising given Booth’s established success in wooing women:

JWB and Fanny Brown Gossip

As clerk John Simonton* states, after Fanny Brown’s identity was established, the words “The Mysterious Beauty” were erased from the original image. However, as any museum curator will tell you, alterations to an artifact can never truly be erased. A close inspection of the bottom of Fanny Brown’s CDV shows the faint outline of the words that were once carelessly scribbled onto her gift to John Wilkes Booth:

The-Mysterious-Beauty-anima

A Fitting Repose

Eventually, Alice Grey, Effie Germon, Helen Western Laura Redden, Lucy Hale, and Fanny Brown escaped their prison in the Judge Advocate General’s office. On February 5, 1940, the artifact evidence held by the JAG was officially transferred to the Lincoln Museum, also known as Ford’s Theatre. In the years since then, the ladies have spent some time on display but even more time in a couple of National Park Service storage facilities. Today, however, all five of these beauties are on display in the assassination section of the Ford’s Theatre Museum.

Booth's Ladies

After so many years of being confined to a box, ignored, misidentified, and forgotten, it’s great to see these ladies on display so prominently at Ford’s Theatre. Their innocent beauty is a much-needed contrast to the dark tools of the assassination that surround them. These images of Lucy Hale, Alice Grey, Effie Germon, Fanny Brown, and Helen Western Laura Redden perfectly represent the beautiful life that John Wilkes Booth mysteriously threw away when he committed his violent act of hate on April 14, 1865.

References:
Denver Rocky Mountain News, January 13, 1884 (republishes the article from the Cleveland Herald)
“Relics of a Tragedy”, The World, April, 26, 1891
The Richard and Kellie Gutman Collection
The Art Loux Archive
Ford’s Theatre Museum
Library of Congress
New York Public Library

*John Paul Simonton, the clerk who wrote the note on the back of the cabinet card explaining the story of “The Mysterious Beauty,” is occasionally referenced by those who believe John Wilkes Booth was not killed on April 26, 1865. Simonton worked as a law clerk in the JAG office from 1877 to 1920. After his retirement, he wrote an affidavit in 1925 stating, in part, “I studied the evidence in this case and examined all the exhibits as an expert and found no definite proof that John Wilkes Booth was ever captured. The fact that John Wilkes Booth was captured could not be established before any court in the United States on the evidence submitted at the time of the trial and now on file at the War Department.” Conspiracy theorists use this as “proof” that Booth escaped. Interestingly, they largely ignore an 1898 letter from Simonton to Finis Bates (of the Booth mummy story) in which Simonton stated, “While I have not what may be styled direct or positive evidence that the man killed was Booth, I have such circumstantial evidence as would seem to prove the fact beyond doubt.” In addition, Simonton clearly states on the back of this cabinet card that “this picture was found, after his death, in the diary of John Wilkes Booth,” solidifying that it was his firm opinion that it was John Wilkes Booth who was killed. When it comes to his 1925 statement, Simonton is very clearly pointing out the fact that Booth’s death was not definitely proven at the trial of the conspirators, and in this, he would be correct. The object of the trial of the conspirators was not to conclusively prove that Booth was dead; it was to try the conspirators for their involvement in Lincoln’s death. The files and evidence of the conspiracy trial do not definitely or directly prove Booth’s death, as this was not the objective of the trial. However, evidence from sources outside the conspiracy trial (i.e. autopsy reports, the numerous identification of Booth’s body by his friends and family, official statements from David Herold, the Garrett family, the troopers that captured him, etc.) along with the circumstantial evidence presented at the conspiracy trial (i.e. Booth’s possessions taken from him after he was shot) do conclusively prove that Booth was killed.

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The Fake “Mrs Surat”

In the aftermath of Lincoln’s assassination, photographs of the assassin were highly sought after. Newspaper classifieds of the day often contained advertisements for Lincoln memorial ribbons right beside advertisements offering photographs of John Wilkes Booth.

JWB photos ad 1

The lucrative business of assassination related imagery extended not only to photographs of the assassin, but also to his conspirators. As a result, photographer Alexander Gardner was quick to reproduce his mugshot photographs of the accused conspirators into carte de visites for the masses to purchase:

However, two of the conspirators who were put on trial, Dr. Samuel Mudd and Mary Surratt, never had their photographs taken with the rest of the conspirators.  While the public could easily do without a picture of Dr. Mudd (himself little more than another male face in Booth’s crew) the desire to see and own a picture of the solitary woman accused of helping plot the death of the President was something worth attaining. One would think that the lack of a legitimate mugshot photograph of Mary Surratt would hinder the creation of a massively produced CDV like the ones pictured above. However, such trivialities did not stop some unknown photographer from creating and selling the following CDVs of Mary Surratt:
Fake Mary Surratt CDV BoothieBarn

The small details of spelling Mary Surratt’s name correctly or attempting to find an actual likeness of the conspirator were not important to the photographer who created these fabricated CDVS. The public purchased and filled their albums with these fraudulent “Mrs Surat” images, with most having no idea that the woman pictured was not the assassin’s accomplice. The identity of this “Mrs Surat” has not been determined, but she bears very little resemblance to the true Mrs. Surratt:

Mary Surratt's CDV 1

Despite being fake, these period “Mrs Surat” CDVS are still sought after by collectors and can often sell for more money than legitimate images of John Wilkes Booth himself.

At the end of the day,  “Mrs Surat” is a perfect example of America’s unwavering devotion to the entrepreneurial spirit and the old adage, “Caveat emptor” – Buyer beware!

For more pictures of Mary Surratt, check out the Mary Surratt Picture Gallery.

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Picture This: A New Image of Michael O’Laughlen

At around 9:00 p.m. on April 17, 1865, a young, mustachioed man in handcuffs was brought to Washington, D.C.’s Navy Yard and placed aboard a ship named the U.S.S. Saugus. The Saugus was lying at anchor in the middle of the water in preparation for its role of becoming an island fortress to hold those arrested as conspirators in Lincoln’s assassination. This 24 year old man, whose presence on board christened the Saugus as a prison ship, was named Michael O’Laughlen.

O'Laughlen from Harper's Weekly

O’Laughlen was a long time friend of John Wilkes Booth. The two grew up as boys together on Exeter St. in Baltimore, where the Booth’s lived across the street from the O’Laughlen family. Though Booth had a more personal relationship with Samuel Williams O’Laughlen, Michael’s older brother, Booth still had fond memories of Michael. As both Booth and O’Laughlen grew up, their lives went in different directions. Booth became a noted Shakespearean star, following in the footsteps of his father and brothers, while O’Laughlen ended up joining a Maryland regiment which fought on the side of the Confederacy. Much of O’Laughlen’s time in the Confederacy was plagued with illness and by 1862 he was back home in Maryland assisting his brother in the hay and feed business.

In the fall of 1864, Booth reconnected with his old friend and the charismatic actor easily convinced O’Laughlen to join his plot to abduct President Lincoln for the benefit of the Confederacy. Delays and inaction continued for several months and O’Laughlen eventually lost interest in the plot and returned to work with his brother. On April 13, 1865, O’Laughlen traveled from Baltimore down to D.C. in order to take in the Grand Illumination celebration with friends. He allegedly made a couple of attempts to meet with Booth on this date, but failed to connect with the actor. When the assassination occurred on April 14th, O’Laughlen was terrified due to his intimate connection with the assassin. O’Laughlen returned to Baltimore but, after a few days, realized that his arrest would be unavoidable and imminent. O’Laughlen was the only conspirator to have turned himself in, arranging his surrender at the home of his sister.

And so it was that Michael O’Laughlen was the first of John Wilkes Booth’s conspirators to be placed aboard the Saugus, confined for his own protection away from mob violence that might do him harm but also in a condition that would prevent him from communicating with anyone. As other conspirators were arrested, they would be place aboard the Saugus as well, until the ship no longer had enough space to adequately isolate them all and the U.S.S. Montauk was brought alongside for additional space. O’Laughlen was kept aboard the Saugus during this time, confined to the ship’s head.

O’Laughlen was on the Saugus from April 17th until April 29th when all the accused aboard the ironclads were transferred to the Arsenal Penitentiary. The research of authors Barry Cauchon and John Elliott has shown pretty conclusively that during this period of confinement, photographer Alexander Gardner made four visits to the ships to photograph the conspirators. O’Laughlen’s mugshots were taken with the bulk of the other conspirators’ images on April 25th. The following are the two images previously known of Michael O’Laughlen:

Michael O'Laughlen Mug Shot Front

Michael O'Laughlen Mug Shot Profile

Until now, these two images were the only images we have ever found of Michael O’Laughlen. Mugshots such as these were used by artists to create engravings for the illustrated newspapers of the day. However as a low interest conspirator and one who was not involved in the actual assassination plot, few took the time to make an engraving of the mild mannered O’Laughlen. The public was far more interested in getting a look at Lewis Powell, the scoundrel who viciously attacked the Secretary of State, so far more impressive engravings were made of him.  One of the lesser known illustrated newspapers, the Washington Weekly Chronicle, contained engravings of most of the conspirators when they published their July 15, 1865 issue:

Washington Weekly Chronicle 7-15-1865

Though Lewis Powell took center stage, the Chronicle also provided this engraving of Michael O’Laughlen:

O'Laughlen Washington Weekly Chronicle

A detailed look will demonstrate that this particular engraving does not actually match either one of the two known mugshot photos of Michael O’Laughlen. It is somewhat similar to the hat-less photo of O’Laughlen, but this engraving shows more of his face than the original source image.

The easiest conclusion to draw is that the engraver added a little bit of their own artistic license when creating the drawing of Michael O’Laughlen. This is not unheard of. As a matter of fact, the large image of Lewis Powell in this edition does not match a known image of Lewis Powell. Despite the tagline that this engraving was based on a photograph taken especially for the Washington Weekly Chronicle, according to author Betty Ownsbey, this engraving of Lewis Powell appears to be a sort of composite between two images of Powell, instead.

Composite Powell Engraving Washington Weekly Chronicle

So it seemed reasonable that the engraving of Michael O’Laughlen in this issue was also not based on an actual photograph, but instead on an artist’s extrapolation of O’Laughlen’s mugshot photographs.

It turns out, however, that this engraving actually isn’t an extrapolation or artistic license. Today, while searching through the online digital collections of the Huntington Library in California, I decided to click on a thumbnail that I assumed was one of the two common mugshot photographs of Michael O’Laughlen.

O'Laughlen Thumbnail Huntington

Immediately I was struck with the suspicion that something was wrong. It was a strange feeling to have. Before me was obviously the hat-less mugshot photo of Michael O’Laughlen, and yet, at the same time, it wasn’t right. As a longtime researcher and reader on the Lincoln assassination I have become so accustomed to seeing the same images over and over again. My accustomed brain was saying, “Yep, this is the same picture of O’Laughlen you always see,” but, at the same time, I couldn’t shake the idea that something was different. Suddenly, I had to see Michael O’Laughlen’s mugshot photographs, I needed to silence the voice saying something was wrong. I opened up my O’Laughlen Picture Gallery and stared at the mugshots. Then it hit me, this image was not the same as the traditional hat-less mugshot. I was surprised and ecstatic to see that this was the photograph that the Washington Weekly Chronicle engraving was based on. Here, at long last, was O’Laughlen’s missing mugshot photograph:

New Michael O'Laughlen Mugshot Huntington Library

New Michael O'Laughlen Mugshot 2 Huntington Library

Unlike the original hat-less photo, O’Laughlen’s face is angled more towards the viewer in this image. The fact that O’Laughlen’s chin is slightly blurry here also hints that he was moving, possibly turning, when the photo was taken.

While Michael O’Laughlen escaped formal execution at the conclusion the trial of the conspirators, his ultimate fate would be equal to it. While serving his life sentence at Fort Jefferson in the Dry Tortugas, O’Laughlen was one of the many souls who contracted Yellow Fever in the fall of 1867. Despite the attentive care provided to him by his fellow prisoners, Dr. Mudd, Edman Spangler, and Samuel Arnold, Michael O’Laughlen perished from Yellow Fever on September 23, 1867. Dr. Mudd lamented that O’Laughlen had become a dear friend to him and that he would miss his, “warm friendly disposition” and, “fine comprehensive intellect.”

This newly discovered mugshot of conspirator Michael O’Laughlen gives us another, much needed angle on a man whose life was tragically cut short due to his involvement in John Wilkes Booth’s plot against Lincoln. It gives us an additional chance to look into the eyes of a young man who has realized that he allowed a charismatic friend to lead him down the path of his own destruction.

New Michael O'Laughlen Mugshot 3 Huntington Library

This image should also remind us that there are still new discoveries to be made. The book of the Lincoln assassination will never be completely written, and, as demonstrated here, it will never be completely illustrated either.

References:
The Huntington Library Digital Collections
A Peek Inside the Walls: 13 Days Aboard the Monitors by John Elliott and Barry Cauchon
Betty Ownsbey
The Assassin’s Doctor by Robert K. Summers
LOC

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The Escape of John Wilkes Booth

I found this free interactive mapping program online today and decided to see if I could construct a nice little map of John Wilkes Booth’s escape route. Unfortunately, this particular map will not embed straight into my site, but you can click the image below to view it.

The Escape of John Wilkes Booth map image

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John Wilkes Booth’s Poetic Envelope

One of the more curious relics belonging to John Wilkes Booth, is a brief poem he wrote on the reverse of an envelope on March 5th, 1865.

Booth Hale Poem Envelope 3-5-1865 Sotheby's

There are some mysteries regarding this poetic envelope. What does Booth’s poem say? Who wrote the second poem beneath Booth’s? Why were these poems written at all? Let’s explore these questions as we analyze this piece on the 150th anniversary of its creation.

What Does Booth’s Poem Say?

This relic was first brought to the attention of the general public thanks to Carl Sandburg’s 1939 book, Abraham Lincoln: The War Years Volume 4. In writing and illustrating his book, Sandburg borrowed heavily from his friend and Lincoln collector, Oliver R. Barrett. Barrett had a massive Lincoln collection and allowed Sandburg to include a small picture of these poems. Sandburg also transcribed the poems and added the following context:

“On March 5 of ’65 signing his name to a verse on an envelope back:

Now, in this hour, that we part,
I will ask to be forgotten never.
But in thy pure and guiltless heart
Consider me thy friend dear Eva
J. Wilkes Booth

And the daughter of a United States Senator, her name protected during ensuing scandals, Eva joined her quoted lines on the same envelope back: ‘For all sad words from tongue or pen – the Saddest are these – It might have been,’ dating it March 5, 1865, In John’s room-“

When Barrett died in 1950, his Lincoln collection went up for auction. In the 1952 auction catalog, this envelope was advertised thusly:

Booth Hale poem envelope Barrett catalog

The auction company, which heavily utilized Sandburg for his expertise, again concluded that Booth’s poem stated:

Now, in this hour, that we part,
I will ask to be forgotten never.
But in thy pure and guiltless heart
Consider me thy friend dear Eva
J. Wilkes Booth

A careful analysis, however, will show that this transcription has a few omissions and errors. As knowledgeable as Carl Sandburg was, he was not a Booth expert and was  far more experienced reading the President’s writing as opposed to that of his assassin. The true and complete text of Booth’s poem is as follows:

Now, in this moment
Now, in this hour, that we part,
I will ask to be forgotten, never
But in thy pure and guileless heart,
Consider me thy friend dear, Ever
J Wilkes Booth

Booth’s hasty scrawl pushed the final two letters in “ever” together to create, in lower quality copies, what appeared to be the single letter “a”. However, after consulting a slightly better quality image of the envelope, like the one that begins this post, one can make out the slight gap separating the two letters. “Ever” is also the logical conclusion as it completes the poem’s rhyme, while “Eva” does not.

This accidental, yet completely understandable substitution of the name “Eva” as the final word in the poem instead of the correct word, “Ever”, caused a great deal of confusion and speculation among Booth historians who consulted Sandburg’s book and the Barrett catalog. Theodore Roscoe, author of the 1959 book, The Web of Conspiracy, trusted Sandburg’s account to include his own mention of the nonexistent “Eva” as having, “dallied for some time in a state of betrothal with the amorous actor.” While Roscoe had the name wrong, he was not far off from the truth.

Who Wrote the Second Poem?

The larger poem, comprising the bulk of the envelope back states the following:

“For of all sad words from
tongue or pen.
The saddest are these –
It might have been.”
March 5th 1865
In John’s room –

The text of this poem is a quote from John Greenleaf Whittier’s 1856 poem, “Maud Muller“. The individual who wrote these lines on the envelope was John Wilkes Booth’s secret fiancée, Lucy Hale, daughter of United States Senator John Parker Hale.

Lucy Hale

CDV of Lucy Hale that was found in John Wilkes Booth’s possession when he was killed

Though the poem is unsigned, handwriting analysis conducted by researcher James O. Hall concluded that this second poem was indeed written by Lucy Hale. Booth and Miss Hale had been acquainted since 1863, when Miss Hale witnessed the actor perform in Washington and sent him a congratulatory bouquet of flowers. The relationship between the two had flourished after Booth stopped touring and spent more time in Washington in the months leading up the assassination. Both John Wilkes Booth and the Hale family lodged at the National Hotel in Washington. This easily explains Lucy’s presence in his room on March 5th, though it would have still been against social custom. By that date they were engaged, albeit secretly. An actor, even one as famous and acclaimed as Booth, was still considered a poor match for woman of high class such as Miss Hale. Even after the assassination, when Lucy was racked with grief over the actions of her fiancée, the authorities still protected her honor by being careful not to publicly disclose their intimate involvement. She was quickly whisked away to Spain where her father had been appointed as an ambassador.

Why were these Poems Written?

The poems written by John Wilkes Booth and Lucy Hale are heartfelt lines that speak of remembrances and separation. Due to this a couple of authors have written possible explanations for them. Michael Kauffman, author of American Brutus, suggests that these lines were written by John Wilkes and Lucy as they lamented Lucy’s future departure for Spain:

“March 5, the morning after the inauguration, was bleak and cheerless for Booth and Lucy Hale. They sat in Booth’s room at the National Hotel commiserating on life’s troubles and despairing of future happiness. They might not have a life together; Lucy would soon accompany her father to Spain, where he was about to begin his duties as an ambassador. The emptiness of the moment reminded Lucy of Whittier’s “Maud Muller,” and she jotted down some lines on an envelope…Booth added a few lines of his own”

In Terry Alford’s upcoming book, Fortune’s Fool: The Life of John Wilkes Booth, he paints an even sadder picture regarding the circumstances of these poems’ creation:

“The day after the inauguration, Booth and Lucy ended their courtship. The timing suggests that his odd behavior had attracted the notice of her family. Or their parting may have been due to the fact that the Hales were leaving Washington. His term in the Senate having expired, Hale was moving his family to prepare for his new assignment as American minister to Spain.

Booth and McCullough had shared their room during the inaugural crunch with John Parker Hale Wentworth, Lucy’s first cousin. Wentworth proved a handy go-between for their courtship. Now he offered a final service.  He handed Booth an envelope from Lucy. If there was a letter inside, it is long gone. The envelope survives. On it Lucy copied the celebrated lines from John Greenleaf Whittier’s poem “Maud Muller”…Wentworth gave the envelope to Booth, who added his own sentiment just above Lucy’s…”

As much as I respect and admire these two authors, I believe them both to be mistaken in regards to the nature of these poems. The reason I don’t agree with Kauffman and Alford’s theories that the poems are mournful notes between John Wilkes Booth and Lucy Hale is due to the fact that Lucy’s father, John Parker Hale, had not yet been appointed minister of Spain when these poems were written. Senator Hale may have been petitioning for the position on March 5th, but he was not nominated for it until March 10th. In fact, the position was still very much in play on March 7th, two days after these poems were written. On that day, Secretary of the Navy Gideon Welles recalled having a cabinet meeting during which Secretary of State William Seward offered the position of Minister to Spain to anyone in the cabinet. This was intended to be a kind gesture towards Secretary of the Interior John Usher, who had lost his political base and was being forced out of Lincoln’s cabinet. No one, including Usher, responded to the offer. John Usher tendered his resignation to Lincoln on March 9th without inquiring about the ambassador position and so Seward found John Parker Hale for the job.

Senator John Parker Hale, Lucy Hale's father

Senator John Parker Hale, Lucy Hale’s father

Rather than being dejected poems of loss written by John Wilkes Booth and Lucy Hale for each other, I believe these poems are the couple’s farewell messages to Lucy’s cousin, John Parker Hale Wentworth. I believe that Kauffman and Alford are both missing one key piece of evidence regarding this relic: the contents written on the front side of the envelope.

The Front Side of the Envelope

From the 1952 Barrett auction catalog, we know that there is some writing on the front side of this envelope. For one, the envelope is franked with the name of John Conness. Franking was a practice at the time in which members of Congress, the President, cabinet members and other elected officials could send mail without the need of a stamp. The official in question would sign his name in the top right corner of an envelope and that would be as good as a stamp for the postal service. Officials pre-signed hundreds of envelopes for later use in this way. The envelope with Booth and Lucy’s poems was signed by John Conness who was a Senator from California.

The 1952 auction catalog also states that the front of the envelope has, “a three line quotation with a note” on it. While the catalog provides the note, written by John Parker Hale Wentworth, it does not give the quotation. For that we must consult a more recent auction. After being purchased in the 1952 auction for $210, the poetic envelope disappeared for many years. Assassination researcher James O. Hall tried to locate it but to no avail. Finally, in 2004, it popped up in a Sotheby’s auction. From their archived auction page, we finally learn that the full text on the envelope’s front is:

“Touched by change have all things been
Yet I think of thee as when
We had speech of lip and pen.”

Beneath this, in the same hand is the sentiment:

“The above, though quoted, are the real sentiments of your friend, who trusts that the acquaintance and friendship formed will never be forgotten by either, Jno P. M. W.”

The poem John Parker Hale Wentworth quotes from is entitled “Remembrance“. It was written by the poet John Greenleaf Whittier, the same author of Lucy’s, “Maud Miller” excerpt.

Wentworth, Booth, and Lucy

While John Parker Hale Wentworth and Lucy Hale were first cousins, they do not appear to have been particularly close growing up. There was quite an age difference between them with Wentworth having been born in Maine in 1828 and Hale in New Hampshire in 1841. In 1849, Wentworth, then 21, made his way to California to seek his fortune.  He would reside in California for the rest of his life. In about 1862 or so, Wentworth was appointed the Indian Affairs Agent of Southern California by Abraham Lincoln himself. Whether Wentworth wrote to his Senator uncle, John Parker Hale, for some assistance in gaining this position is unknown, but it’s clear that Wentworth was grateful to President Lincoln for the job. He was also apparently well suited for it with newspapers reporting that, “Mr. Wentworth has worked miraculous changes in the condition of the Indians in this district; more particularly of the degenerated, wasting tribes of this vicinity.”

With Lincoln’s re-election in 1864, Wentworth made the decision to travel from California to Washington, D.C. His motives for travelling aren’t known for sure. He may have just desired to be present at Lincoln’s second inauguration and hoped to thank the President for granting him his position. Or, perhaps he was like many other office seekers, looking to advance himself further in California’s political circle. Regardless, he arrived in D.C. and took up lodging at the National Hotel, where his uncle and cousins resided. On February 22, 1865, he checked into a room with John Wilkes Booth and another actor named John McCullough.

John Wilkes Booth Gutman 23

It was probably during this time that Wentworth had his first real opportunity to get to know his younger cousin Lucy, who was 8 years old when he left for California and was now a beautiful lady of 24. Being Booth’s roommate, Wentworth would have undoubtedly been aware of the relationship between his little cousin and the actor. The three of them likely spent time together, with Booth displaying his amazing ability to connect deeply with people.

In his free time leading up to the inauguration, it seems plausible that Wentworth would have wanted to report to his Congressmen on the condition of Indian affairs in his section of the state. This would have put him into the offices of his Senator, John Conness. This, I believe, explains Conness’ franked signature on the poetic envelope.  Perhaps Coness offered Wentworth some franked envelopes with which to send future correspondence, or maybe Wentworth decided to help himself to an envelope. Wentworth seems to be the only logical intermediary between the office of Senator John Conness and John Wilkes Booth.

Though I have not been able to track Wentworth’s movements, it appears he departed Washington right after the inauguration. In those days it was quite a long journey back to California, requiring steamboat travel to Panama, a train ride across the isthmus, and a second long steamboat journey to California. It is not unreasonable to assume that Wentworth decided to begin his journey as soon as possible. Even the very next day after the inauguration.

A Farewell Among Friends

With all of this in mind, I submit that the poetic envelope displayed above initially held John Parker Hale Wentworth’s farewell message to either his cousin, Lucy, his roommate, Booth, or to them both as a couple. In this scenario, Wentworth wrote a note, placed it in an envelope he had received from John Conness’ office, and wrote Whittier’s “Remembrance” poem on the front. He then either presented it or left the note for Lucy & Booth. Lucy opened the envelope and read the contents. She then wrote her own Whittier poem on the back of the envelope. Given its position, it appears that Booth’s response was an after thought. Since Lucy used all of the space on the back of envelope, Booth squeezed his own poem on the top flap. The envelope, but not the contents, was then given back to Wentworth as a representation of the couple’s affection.

The above is, of course, just a theory, but it is a theory that I believe logically explains how poems from John Wilkes Booth, Lucy Hale and John Parker Hale Wentworth all came to be on a single envelope franked by Senator John Conness.

References:
American Brutus by Michael Kauffman
Fortune’s Fool: The Life of John Wilkes Booth by Terry Alford
John Wilkes Booth: Day by Day by Art Loux
The Oliver R. Barrett Lincoln Collection Auction Catalog
The Web of Conspiracy by Theodore Roscoe
Sotheby’s Auctions
Right or Wrong, God Judge Me: The Writings of John Wilkes Booth edited by John Rhodehamel and Louise Taper
Ancestry.com
News Notes of California Libraries, Volume 14
“Indian Affairs in Southern California”, Daily Alta California, January 24, 1863
Mr. Lincoln’s White House: Cabinet
Diary of Gideon Welles
Special thanks to Roger Norton for providing me with Carl Sandburg’s quote in a pinch

Categories: History | Tags: , , | 35 Comments

John Wilkes Booth: Snowbound

Today, as the New England region of the United States recovers from what is being called the “Blizzard of 2015”, I am reminded of another historic winter storm. To many in the Midwest, the winter of 1863/64 became frozen in their minds as one of the worst winters ever experienced. Between December and January, temperatures rarely went above freezing. On December 18, 1863, for example, Fort Kearny, Kansas, reported a temperature of 25 degrees below zero with snow four to five feet deep in places. New Year’s Day, 1864, brought along a massive blizzard for the Midwest, with places like Minneapolis, Minnesota, seeing a high of 25 degrees below zero that day.

It was around this time that John Wilkes Booth, a now successful and celebrated actor, was performing in Leavenworth, Kansas. He had been delayed in arriving at Leavenworth from his former engagement in Cleveland, Ohio, appropriately due to snow. However, this minor delay of a day would amount to nothing compared to what was in store for the actor.

John Wilkes Booth Gutman 24

Booth finished his engagement in Leavenworth on December 31. During his time there, critics spoke of his talents:

“Mr. Booth has not only genius, but careful culture and trained power of intellect. There is no actor now on the stage who displays so much of dramatic force and insight as Mr. J. Wilkes Booth, except, perhaps, for his brother Edwin. There is no imitation on the part of the junior, either to his renowned father or his now famous brother. He has a grace and charm all his own, though resembling them in genius, skill and painstaking care, with which his characters are presented on the stage.”

John Wilkes Booth set off from Leavenworth on January 1, 1864. In the morning, he made a brief visit to Fort Leavenworth, a few miles north of the city, to see some friends. This trip occurred on one of the coldest days on record and at a time when newspapers were describing the terrible winds thusly: “Ah, this is a blessed cold snap! Patient old Job may have seen colder weather, but he never undertook to walk up Sixth street facing such a wind as we felt yesterday. Not he. His reputation for patience would have been blasted. God help the shivering poor.” Booth later wrote of having “an ear frost bitten” by the time he arrived at the Fort.

Accompanying Booth during this western trip was a young, black man, possibly named Leav, about whom practically nothing is known other than he served as Booth’s valet and servant. Upon leaving Fort Leavenworth for the journey back to town in order to catch the ferry, Booth gave Leav some items to carry, including his pocket flask. Booth wrote the sorrowing effects of this decision in a letter to the man with whom he had been boarding with in Leavenworth:

Portion of a John Wilkes Booth letter in which he recounts the loss of his flask in the snow.

Portion of a John Wilkes Booth letter in which he recounts the loss of his flask in the snow.

“After giving my boy my flask to keep for me, I started for a run and made the river (four miles) on foot. I run without a stop all the way. I then found my boy had lost that treasured flask. I had to pay five dollars for a bare-backed horse to hunt for it. I returned within sight of the Fort and judge my dismay upon arriving to see a waggon just crushing my best friend. But I kissed him in his last moments by pressing the snow to my lips over which he had spilled his noble blood.”

Some have tried to use this visual of the actor, mourning the destruction of his flask and sucking the last bit of its spilled contents from the snow, as evidence that Booth was an alcoholic. While possible, I view the scene as entirely appropriate given Booth’s dramatic flair in a moment when the outside conditions so desperately warranted the “warming” effects of alcohol. Saddened as he was, things were still only going to get worse for the actor.

When Booth returned to the boat landing, he found that ice had prevented the ship from reaching the shore. Booth, along with others, helped to cut the ice in order to allow the boat to dock. The ship then took him across the Missouri River, and he slept that night across the river from Leavenworth in the town of Weston, Missouri. His end goal was St. Louis, where he was booked at Ben DeBar’s theater starting on January 5. On the morning of January 2, he boarded a train at Weston and took it north about 35 miles to St. Joseph. From there, he was hoping to catch a train with the Hannibal and St. Joseph Railroad, which would take him eastbound towards St. Louis. The weather, however, had other plans.

The blizzard of 1863/1864, known as “The Big Snow” by those who lived through it, occurred over an area of 3,000 miles, hitting a large portion of Illinois, Iowa, and Missouri. As one Missouri citizen later recalled, “a terrible snow storm set in and continued with unabated fury for forty-eight hours.” Near St. Joseph, the ground was covered with snow to a depth of about 27 inches, but areas east of St. Joseph had been hit even worse. Huge snow drifts occurred, completely covering the railroad tracks. Not one, not two, but eight trains along the Hannibal and St. Joseph Railroad were trapped in the snow, some buried up to thirty feet in it. The closest trapped train was only about 19 miles east of St. Joseph. All were unlikely to be freed anytime soon.

The cover of the January 23, 1864 edition of Harper's Weekly shows the condition of railroads across the Midwest.

The cover of the January 23, 1864, edition of Harper’s Weekly shows the condition of railroads across the Midwest.

By the time Booth had arrived at St. Joseph, no train had traversed the Hannibal and St. Joseph rails for the past week. Booth, like everyone else who came to St. Joseph hoping to go east, was completely snowbound. Local newspapers printed a report, later to be proven entirely too optimistic, that the train line might be up and running again in four days. With no other options available to him, Booth found a room at the now wholly overcrowded Pacific House hotel in St. Joseph.

Booth spent his first full day in St. Joseph on Sunday, January 3. Even after only a day, Booth likely empathized with the local newspaper, which wrote, “We are ‘in the wilderness,’ and can’t see any way to get out.”

On Monday, January 4, Booth’s reputation had caught up to him. After becoming aware that the famous tragedian was effectively stuck in their city, citizens of St. Joseph wrote a letter to Booth asking him to perform for them in some capacity. They wrote:

“J. Wilkes Booth, Esq., Pacific House:
Sir:
The Undersigned, citizens and travelers detained here, having learned that you were making a short visit to this city and entertaining a high appreciation of your ability as a tragedian, would most respectfully but earnestly request that you would favor us with a public reading from any of your favorite authors, at any time and place most convenient for you. When and where we pledge you an appreciative audience”

The request was then signed by 70 citizens and guests of St. Joseph, including the mayor. Booth, later wrote to a friend that he was down to his last cent in St. Joseph, and so he heartily agreed to the public’s demand of him. He wrote the following response to the invitation:

“Gentlemen:
Your flattering request has just been recieved and I endeavor to show my appreciation of it, by the promptness of my compliance. I have gained some little reputation as an actor, but a dramatic reading I have never attempted. I know there is a wide distinction as in the latter case, it is impossible to identify ones-self with any single character. But as I live to please my ones, I will do all in my power to please the kind friends I have met in St. Joseph.
I will therefore designate Tuesday evening, Jan. 5th, at Corby’s Hall. I am
Very Respectfully,
J. Wilkes Booth”

Despite his assertions to the contrary, Booth had, in fact, performed public recitations before. When he ran off with the Richmond Grays to attend the execution of John Brown, he had entertained his fellow soldiers with readings. That was, however, over four years ago when he was still but a novice actor.

The next day’s newspaper advertised the performance as its lead article, with the newspaper’s ironic political sentiments being the only thing preceding it in the issue.

John Wilkes Booth will perfom with Lincoln ad 1-5-1864 St Joseph Morning Herald

In addition to reciting pieces contained in the article above, John Wilkes also took this chance to recite one of his favorite, and entirely appropriate, poems, “Beautiful Snow.” The newspapers hailed the performance the next day, stating:

“The dramatic reading of this celebrated actor last evening was well attended and gave universal satisfaction.  The Hall was well filled, but it was so very cold that everybody found it almost impossible to be comfortable. The selections of the reader were all rendered in a captial style, but we were particularly pleased with ‘Once I was Pure [Beautiful Snow]‘ and the ‘Charge of the Light Brigade.’ Our citizens would greet Mr. Booth with a crowded house could he be persuaded to repeat the entertainment.”

Booth did not perform again in St. Joseph despite the newspaper’s suggestion. It might have had something to do with the condition of the audience, which the newspaper scolded for their behavior during his recitations:

“It is inexplicable why full grown men will go about in a hall on such an occasion as that of last night, stamping like elephants, and moving chairs as though they were anvils. A trifle of good breeding is a capital thing to be used in keeping a hall quiet.  Stupid dolts who go thundering about the world, to the disgust of every sensible person, should be debarred from the privileges of Corby’s Hall during dramatic readings.”

Booth received $150 from the performance, which was greatly needed. Days were still passing with little sign that the trains would start running again. On Thursday, January 7, the temperature in St. Joseph at 9:00 am was twenty-one degrees below zero. Some days were better than others, however, with the newspaper celebrating the reappearance of the sun despite the “crisp, cold day”.

By Friday, January 8, it was clear that everyone was suffering from the prolonged freeze. The newspaper lamented, “Well, this is a big storm. In the memory of man, no such cold weather and no such fall of snow has been known as we are now suffering in. Hundreds of travelers are here, weatherbound.” An earlier report stated, “Our people are in a terrible fix. The snow has effectually shut us out from ‘all the world and the rest of mankind,’ and there is no prospect of relief.” John Wilkes Booth was now three days overdue for his engagement in St. Louis, 300 miles away. A man arrived in St. Joseph and related that he had taken the train west from Macon, the transfer point to St. Louis. The train made it west until Breckenridge, where the other stopped trains and snow prevented it from going further. Booth, realizing that if he could make it to Breckenridge, 60 miles to the east, he could catch the working trains to Macon and then St. Louis, decided to put an end to his snowy vacation in St. Joseph. With $100 of the money he had received from his public reading, Booth hired a four-horse sleigh to take him the 60 miles to Breckenridge. He departed on January 8, after spending about five and a half days in St. Joseph, Missouri.

The exact details of Booth’s journey by sleigh are not known for sure. He later wrote to his friend John Ellsler of the journey:

“[The performance at St. Joseph] gave me $150. with which I hired a sleigh and came 100 miles over the plains. Four days and nights in the largest snow drifts I ever saw Its a long story which I want to tell you when I see you, but I will say this that I never knew what hardship was till then.”

There are two individuals who, many years later, gave accounts regarding Booth’s time in the snow. One of them was William D. Bassett, then a 16-year-old railroad telegraph operator stationed in Cameron, Missouri. Around the turn of the century, various newspaper articles were published featuring Bassett’s recollections of The Big Snow. Bassett stated that he shared his comfortable room at the Cameron depot with Booth after Booth arrived, along with this theatrical troupe, in Cameron by train. The way Bassett portrays it, Booth was never trapped at St. Joseph, but, instead, with him at Cameron. All of this is suspect and is contrary to the facts. However, it is possible that Bassett has some truth in his accounts. Perhaps, Booth, while on his four-day sleigh journey to Breckenridge, stopped in Cameron to rest for a day or two and found hospitality with young Bassett in the depot. Cameron was just about halfway between St. Joseph and Breckenridge, making it an extremely appropriate spot to rest before moving on. In Bassett’s recollections of their time together, he states that Booth was fond of literature and that the pair spent some time reading Victor Hugo’s Les Misérables together. Booth was also apparently quite entertained when, upon visiting the local bar one morning, he found a captive audience of customers waiting patiently as the bartender was attempting to thaw out bottles of whiskey that had frozen solid.

Probably the most entertaining of Bassett’s recollections involves Booth’s interactions with the children of Cameron. From other accounts, we know that John Wilkes Booth was very fond of children and was fairly gifted at conversing with them. According to Bassett:

“Several little children played around the depot everyday while Booth was there, and with these innocent creatures he soon became a prime favorite. He would teach them games and engage in snowball battles with them. Sometimes they would all join against him and give him much the worst of it, but he took it all in perfect good nature, and was as rollicking and boisterous as the best of them. For many weeks after his departure the little girls and boys would ask me when ‘Mr. Boots’ was coming back.”

A newspaper article containing Bassett’s memories, published in 1901, includes this wonderful drawing of the event.

Snowbound John Wilkes Booth The Republic 8-4-1901

Even if Bassett’s accounts are untrue, I have no problem believing that, at some point in his life, whether it be during the many days he spent at St. Joseph or a previous snowy winter, John Wilkes Booth engaged some local children in a snowball fight. His affinity for children makes this a very likely scenario.

One of the other individuals who later spoke of Booth’s time in the snow was an actress named Mrs. McKee Rankin. According to an article by her published in 1909, she heard Booth recount some of the struggles he faced during his sleigh ride to Breckenridge. It is very difficult to put any reliability in her account, however. Not only was it published 45 years after the event, but Mrs. Rankin also admits that she is remembering the story told by Booth to a friend while she was listening through a transom in a different room. The account is filled with factual errors regarding the events and, in truth, is barely worth the paper it is written on. However, it is still an extremely entertaining read. Surprisingly, the one thing Mrs. Rankin does get right is the inclusion of Booth’s otherwise forgotten servant. She recalls an exciting tale in which Booth and Leav hire a horse named “The Girl” to lead their sleigh. At one point, it is so dark that the men went right over a snow drift, sending them flying from the sleigh. As Mrs. Rankin wrote it, after the accident, poor Leav was like a cartoon character with his head and body buried while his legs and feet stuck out of the snow. Booth pulled him out, and together they righted the sleigh. Leav was freezing cold and buried himself under robes and blankets on the sleigh. While Booth recovered himself, he bent down to get a drink of whiskey from a jug they had brought along, only to find that it had broken. After lighting a half-broken cigar, Booth heard footsteps approaching. He tried to rouse Leav, but at that point, Leav was unconscious, wrapped in the sleigh. As the footsteps got closer, Booth drew long on his cigar, hoping to see something in the darkness. Then he felt the panting of an animal before him and saw two balls of fire reflecting in the eyes of an animal before him. It was a wolf! In that instant, the “heroic” Booth grabbed the broken piece of whiskey jug and brought it down right onto the head of the beast. Before getting a chance to see how many wolves were out there, “The Girl” let out a yelp and, with a bound, was pulling the sleigh away at top speed. According to Mrs. Rankin, the horse, at a dead run, didn’t stop until they reached their destination.

While it’s safe to say that probably none of Mrs. Rankin’s account is true, it is at least possible that Booth said some of these falsehoods to make a good story. In fact, another actor by the name of Edwin Adams recalled another likely case of Booth adding flourish to a story:

“I heard [Booth] boasting over a long and tedious journey from Leavenworth across the prairies in a sleigh to St. Louis and after of having threatened a conductor’s life, who had stopped his train on account of the great depth of snow, and that by placing a pistol to his head, made him continue his journey.”

The truth of Booth’s journey, however, is far less flashy. On Monday, January 11, John Wilkes Booth, his servant, and his sleigh team had made the cold trek of sixty miles from St. Joseph to Breckenridge. The tracks on the Hannibal and St. Joseph Railroad were clear from that point eastward. Booth caught the first train he could eastward. At Macon, he transferred from the Hannibal and St. Joseph Railroad to the Northern Missouri Line. This line took him southeast, all the way to his destination of St. Louis.

He opened at the St. Louis Theatre on Tuesday, January 12, exhausted but not wanting to lose any more days from his engagement. The Big Snow had caused him to lose seven days of performances—and pay. The toils of his journey had taken much out of him. One of the stock actors in the company later wrote, “[Booth] told me of his hardships in coming down from [St. Joseph] to fill his date in St. Louis, and that he had made the greater part of the journey in sleds…He looked worn out, dejected and as melancholy as the dull, gray sky above us…After ordering beer, he sat gloomily and silent for a time, and upon my asking him the cause, he smilingly answered that no doubt it was the rough experience he had passed through lately.” Booth would only perform five times in St. Louis before he had to move on to his next engagement in Louisville, Kentucky.

Just as the residents of Boston will long remember the Blizzard of 2015, so did John Wilkes Booth retain a memory of his run-in with the Big Snow of 1863/64. He spent just under a week snowbound in St. Joseph, Missouri, and, when he could take it no longer, he braved the harsh weather by sleigh for four days. In less than a year and a half, John Wilkes Booth would again be braving the elements for a chance at freedom as he ran for twelve days, attempting to flee one of the largest manhunts in American history.

References:
John Wilkes Booth: Day by Day by Art Loux
“Right or Wrong, God Judge Me”: The Writings of John Wilkes Booth edited by John Rhodehamel and Louise Taper
January 1, 1864 – January 9, 1864 editions of the St. Joseph Morning Herald
Snowbound with John Wilkes Booth at Cameron, MO by William F. Bassett in The St. Louis Republic Magazine, August 4, 1901
The News of Lincoln’s Death by Mrs. McKee Rankin
The Lincoln Assassination: The Evidence edited by William Edwards
Recollections of an Old Actor by Charles A. Krone
Harper’s Weekly
The Art Loux Archive
GenealogyBank.com

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