Posts Tagged With: John T Ford

Breakfast with Booth: Lucy Hale

In an earlier post, I introduced you to Carrie Bean, a young socialite from New York who journalist George Alfred Townsend claimed had breakfast with John Wilkes Booth on the morning of Lincoln’s murder. GATH is our only source for this event, but Miss Bean’s connection to the National Hotel and some of its residents makes it possible that this breakfast did occur. However, Carrie Bean is not the only one who has been linked to the assassin’s morning meal. There are sources that state that Booth spent his final breakfast before his infamous deed in the presence of his fiancée, Lucy Hale.

Lucy Hale likely needs no introduction to readers of this blog. In 1865, Lucy was the 24-year-old daughter of New Hampshire Senator John P. Hale and his wife, Lucy Lambert. The Hales often resided at the National Hotel when staying in Washington. At the time of the assassination, Senator Hale was in a sort of limbo. In June of 1864, the statesman had lost his bid for renomination by the New Hampshire Republican party and was replaced by Aaron Cragin. When Lincoln took office for his second term on March 4, 1865, Hale was officially out of a job. However, the staunch abolitionist lobbied for an ambassadorship position. On March 10, Hale was nominated to become the administration’s new minister to Spain. At the time of the assassination, the Hales were preparing for their new lives abroad.

At what point John Wilkes Booth and Lucy Hale met and subsequently became romantically involved is unknown. A commonly repeated yet erroneous story claims their romance began in 1862 when Booth sent Lucy a valentine signed “A Stranger.” This is too early of a period for the two to have become entwined. John Wilkes Booth didn’t even make his first appearance on the D.C. stage until 1863. The source of this erroneous story is a letter to a “Miss Hale” that was found in an antique store by Richmond “Boo” Morcom. In 1970, American Heritage published an article written by Morcom titled, They All Loved Lucy, in which he attributed the letter to Booth without evidence. After Morcom’s passing in 2012, his papers were donated to the New Hampshire Historical Society. A look at the original document shows that the letter is not in John Wilkes Booth’s handwriting. To demonstrate this, here is the end of the “Stranger” valentine found by Morcom with a sample of John Wilkes Booth’s writing underneath it. I’ve underlined some of the same words found in each letter for easy comparison.

The letter and word formations are just too different to have been written by John Wilkes Booth.

Part of the reason this incorrect story continues to live on is due to the fact that John Wilkes Booth is known to have composed a valentine for Lucy Hale. Junius Brutus Booth, Jr. wrote a letter to his sister Asia, updating her on family matters. John Wilkes was visiting Junius in New York at the time and June wrote to Asia that:

“John sat up all Mondays night to put Miss Hales valentine in the mail – and slept on the sofa – to be up early & kept me up last night until 3 1/2 AM – to wait while he wrote her a long letter & kept me awake by every now and then useing me as a dictionary…”

While John Wilkes is documented as having composed a valentine for Lucy Hale, this occurred in February of 1865, and we do not have any idea what his valentine said. It was likely destroyed, along with all other correspondences from Booth, by Lucy Hale or her family in the aftermath of Lincoln’s assassination.

While Lucy and Booth may have known of each other as early as 1863, when Booth made his Washington debut, it doesn’t seem like they had much in the way of a relationship until late 1864. During the summer and early fall months of 1864, John Wilkes Booth stayed with his family in New York and then traveled into the Pennsylvania oil region. He was actually infatuated with another woman at this time, 16-year-old Isabel Sumner, whom he had met during his Boston engagement in the spring. It wasn’t until November of 1864 that Booth’s residency at the National Hotel started as Washington became his base of operations in his conspiracy against Lincoln. Thus, his and Lucy’s romance was a relatively quick one.

A few years ago, I wrote about an envelope dated March 5, 1865, that contains poems by John Wilkes Booth and Lucy Hale. I explained that while some authors have used this envelope as evidence that the couple broke up on this date, I believe this conclusion to be incorrect. The two were planning a life together despite the difficulties involved with her father’s nomination to be the next minister to Spain. Lucy was expected to accompany her family to their new country. As a result, John P. Hale started having his family learn some of the Spanish language they would soon be immersed in. In mid to late March, Lucy Hale traveled to New York City and stayed with friends as she took some rudimentary Spanish lessons. On March 21, Booth traveled up to New York City ostensibly to be there for his brother Edwin’s 100th night of Hamlet the next day. However, according to Junius Brutus Booth, Jr.’s diary entry on March 22, “John came on to see Miss Hale.”

In the aftermath of John’s crime, Asia Booth wrote a letter to her friend Jean Anderson where she described the relationship between John and Lucy as the Booth family understood it:

“I told you, I believe, that Wilkes was engaged to Miss Hale. They were devoted lovers and she has written heart-broken letters to Edwin about it. Their marriage was to have been in a year, when she promised to return from Spain for him, either with her father or without him. That was the decision only a few days before this awful calamity. Some terrible oath hurried him to this wretched end. God help him.”

There is no evidence that Lucy Hale had any foreknowledge of what her secret fiance was planning.

Due to her being the daughter of a former Senator, Lucy Hale’s name was mainly kept out of the papers in the aftermath of Booth’s crime. There were a few references to Booth having been engaged to a New England Senator’s daughter, but propriety kept her actual name out of it. As years went by, however, more details came out about their relationship from some of Booth’s former friends and acquaintances.


In December of 1881, a journalist by the name of Col. Frank A. Burr wrote at length about John Wilkes Booth for the Philadelphia Sunday Press. Burr had done an immense amount of research into the life and death of John Wilkes Booth. He traveled down to the Garrett Farm and interviewed members of the Garrett family about Booth’s final days. He visited Green Mount Cemetery and described the Booth family plot. Burr also interviewed friends of Booth’s in order to flesh out his motivations. The result was one, or perhaps two, lengthy articles covering many aspects of Booth’s life, crime, and death. The reason I am uncertain about how many articles Burr’s work was split into is because, try as I might, I have been unable to track down the relevant Sunday issue(s) of the Philadelphia Press. These particular editions seem to be an endangered (or possibly extinct) species in archives and libraries today.

While Burr’s original piece has proven elusive, continued interest in Lincoln’s assassination meant that several newspapers reprinted parts of his work, often splitting it up into more manageable portions. The Evening Star out of Washington, D.C., appears to be one of the first to reprint part of Burr’s work. A lengthy article called “Booth’s Bullet” credited to the Philadelphia Press and “F.A.B.” was published in the Evening Star on December 7, 1881.

It appears that the Evening Star chose to cut out the whole section about Burr’s trip to the Garrett farm. Instead, the article was broken into three sections. The first section documented Burr’s visit to John Wilkes Booth’s grave in Green Mount Cemetery. The second was an interview Burr had with John T. Ford, and the third section was Burr’s interview with actor John Mathews. On the day of the assassination, Booth had given Mathews a sealed envelope, which he instructed Mathews to give to the newspapers the next day. The envelope contained Booth’s written explanation for why he assassinated Lincoln. Mathews was a member of the Ford’s Theatre cast and witnessed Lincoln’s assassination firsthand. Afterward, he returned to his boarding house, which happened to be the Petersen House, where Lincoln was taken. As the President lay dying in an adjacent bedroom, John Mathews opened the sealed envelope and read the assassin’s manifesto. After finishing it, Mathews made the decision to burn the letter, fearing it would implicate him in Booth’s great crime. The entirety of the “Booth’s Bullet” from the Evening Star can be read here.

Within this article, there are several references to Lucy Hale. John T. Ford stated to Burr that:

“Booth was a very gifted young man, and was a great favorite in society in Washington. He was engaged, it was said, to a young lady of high position and character. I understood that she wrote to Edwin Booth after the assassination telling him that she was his brother’s betrothed, and would marry him, even at the foot of the scaffold.”

John Mathews related a lengthy exchange he had with Booth regarding love and Lucy Hale:

“‘John, were you ever in love?’
‘No. I never could afford it.’ I replied.
‘I wish I could say as much. I am a captive. You cannot understand how I feel. What are those lines in Romeo and Juliet describing love? I have played them a hundred times but they have flown from me.’
‘Will you stand a bottle if I’ll give them to you?’ I asked.
‘I will – two of them,’ replied Booth.
‘Here are the lines,’ I answered:
O! anything, of nothing first create!
O! heavy lightness! Serious vanity!
Mis-shapen chaos of well-seeming forms!
‘That’s it,’ replied Booth. ‘If it were not for this girl I could feel easy. Think of it, John, that at my time of life – just starting, as it were – I should be in love!’

[Burr:] Did he mention the lady’s name?
[Mathews:] Oh, yes; but that shall be sacred with me. She is married now, and it would serve no good purpose either to his memory or to the truth of history to revive it. He loved her as few men love. He had a great mind and a generous heart, and both were centered upon this girl, whom he intended to make his wife. Her picture was taken from his person after he was killed.”

In addition to these mentions of Booth and Lucy’s romance, this article is the earliest source that places Lucy Hale with Booth at breakfast on the morning of his great crime. John T. Ford stated the following:

“The facts in the case are that he never knew the President was to attend the theater until nearly noon of that day. He was always a late riser. He came down to breakfast about ten o’clock on that morning, and his fiancee, who also boarded at the National Hotel with her parents, met him. They had a short conversation, and after breakfast he walked up to the Surratt mansion on H street, as is supposed from the direction in which he was first seen coming by the attaches of the theater that morning.”

To be fair, this description is a little vague as to whether Lucy Hale joined Booth for breakfast or merely had a conversation with him during his breakfast. Lucy’s inclusion is really a throwaway reference in a section about Booth’s movements. However, it still connects the two on the morning of the assassination.

Another paper that reprinted Frank A. Burr’s work was The Atlanta Constitution. They published the story of Burr’s visit to the Garrett farm on Sunday, December 11, 1881. A month later, on Sunday, January 15, 1882, the Constitution published another article attributed to Burr titled “Booth’s Romance”.

This article was similar to the earlier article found in the Evening Star, but “Booth’s Romance” is markedly different in spots from “Booth’s Bullet.” The section about visiting Booth’s grave is not present in the Constitution, and while the interviews with John T. Ford and John Mathews are present, they have been moved around, reworded, and elaborated on in different places.

For example, here is the beginning of “Booth’s Romance”:

“‘Oh! If it were not for that girl how clear the future would be to me! How easily could I grasp the ambition closest to my heart! With what a fixed and resolute purpose, beyond all resistance, could I do and dare anything to accomplish the release of the confederate prisoners! Thus reviving the drooping southern armies, and giving new heart to the waning cause!

What are those lines in Romeo and Juliet describing love? I have played them an hundred times, but they are now covered with the mist of greater thoughts and I cannot see them. I am, I am in love!’

‘O! any thing of nothing first create!
Oh! heavy lightness! serious vanity!
Mis-shapen chaos of well seeming forms!’
quoted an actor associate and friend into whose room John Wilkes Booth had strode one morning in April, 1865, and thrown himself upon the bed, his mind torn with conflicting emotions.”

In content, this introduction is similar to the exchange between Booth and John Mathews as written in “Booth’s Bullet,” but it is portrayed and narrated differently in “Booth’s Romance.” A similar change is present in the part about Booth’s breakfast. “Booth’s Romance” does not talk about Booth’s breakfast in the same section as John T. Ford’s interview but merely narrates Booth’s movements uncredited:

“About 10 o’clock in the morning of the day upon which the crime was committed Booth came down the steps of the hotel to the breakfast room, late as an actor’s wont. Immaculately dressed in a full suit of dark clothes, with tall silk hat, kid gloves and cane, he walked forth the young Adonis of the stage… At the foot of the stairs he met his fiancee, who was there awaiting his coming. They walked into the breakfast room, and took their morning meal together. A few minutes chat in the parlor followed. Those words were doubtless the last she ever spoke to him.”

In this version, Booth and Lucy Hale definitively shared breakfast together before they departed from each other’s company. However, there is no attribution for this added detail, and it appears to be an unsupported elaboration. “Booth’s Romance” is filled with confusing attributions when compared to “Booth’s Bullet”. For example, in the section cited as the interview with John T. Ford, we get this exchange:

“‘He was received by the very best people. The lady to whom he was engaged to be married belonged to the elite of Washington society.’
‘Do you know the lady’s name?’
‘Yes, but it shall be sacred. She is married now and it would do no good to the truth of history to revive it. Booth’s whole soul was centered upon her, and he loved her as few men love. Her picture, I understand, was taken from his body a short time after his capture, and she was faithful to him to the very last.'”

These statements are said to be from John T. Ford, but the ending part about Lucy Hale’s name being “sacred” was attributed to John Mathews in the article “Booth’s Bullet.” It appears the composer of “Booth’s Romance” combined the two statements by Ford and Mathews together and attributed them all to Ford. However, without access to Burr’s original work in the Philadelphia Press, it’s hard to know which account, if either, is the accurate portrayal.

Regardless, these articles from Frank Burr seem to provide John T. Ford as the source for the claim that John Wilkes Booth shared his breakfast with Lucy Hale on April 14, 1865. But how reliable is that story?


It’s important to remember that John T. Ford was not in Washington, D.C., on the day of the assassination. In truth, Ford was not all that involved with the day-to-day operations of his namesake theater. He had spent most of the winter and spring of 1864-1865 in Baltimore, running his Holliday Street Theatre. He left the management of Ford’s Theatre in the hands of his brothers, Harry and Dick Ford. When Lincoln was shot at Ford’s Theatre, John T. Ford was in Richmond. Before the war, Ford had operated a theater in Richmond, and he still had family in the area. With the fall of the Confederate capital earlier that month, Ford had applied for and received a military pass to travel south. All of John Ford’s knowledge about the specifics of the assassination comes from what he learned from his brothers, employees, and eyewitnesses after his return to the city.

This isn’t to say that John T. Ford is someone we should ignore. While he wasn’t in town when Lincoln was shot, when he returned to Washington, Ford was arrested and held at the Old Capitol Prison. He wrote a great deal about his time in prison and his interactions with some of the other folks imprisoned with him. Ford became a big proponent of Mary Surratt’s innocence as a result of what he witnessed while incarcerated.

In April of 1889, John T. Ford published an article in the North American Review entitled, “Behind the Curtain of a Conspiracy”. If you want, you can read the full article here. The bulk of the piece was a defense of Mary Surratt and an attack on Judge Advocate General Joseph Holt for allowing Mrs. Surratt to be executed. However, Ford also took the time to narrate John Wilkes Booth’s movements on the morning of the assassination. When discussing Booth’s breakfast, John T. Ford wrote this:

“On the morning of April 14, 1865, it was fully 11 a.m. when John Wilkes Booth came from his chamber and entered the breakfast-room at the National Hotel, Washington. He was the last man at breakfast that day; one lady only was in the room, finishing her morning meal. She knew him and responded to his bow of recognition. He breakfasted leisurely, left the room when he had finished, went to the barber-shop…”

Ford makes no mention of Lucy Hale in this 1889 article. His allusion to a single lady in the breakfast room more closely matches GATH’s description of Carrie Bean from 1865.

The reality is that John T. Ford was extremely inconsistent when discussing Booth’s breakfast over the years. In an article from 1878, he stated that Booth, “was the last guest at breakfast” and makes no mention of any ladies being present. To Col. Burr in 1881, he stated that Lucy Hale met Booth at breakfast, but it is unclear if she joined him for the meal. Then, in 1889, he wrote that another unnamed lady was also eating breakfast at the time. John T. Ford is all over the map.

Perhaps the most interesting of all of John T. Ford’s descriptions of Booth’s breakfast is one that he gave to the Evening Star on April 18, 1885. In this account, Ford includes both Carrie Bean and Lucy Hale.

“The last male guest at the National hotel breakfast, on the morning of April 14th, 1865, was John Wilkes Booth. When he entered the breakfast room, a young lady, Miss B—. was finishing her meal at a small table near by the one assigned him by the waiter in charge. He glanced over the bill of fare and pleasantly whispered his order for a light meal, which was soon brought. The young lady lingered at her table. The young actor was an acquaintance, and a known admirer of one of her feminine friends – (the daughter of a distinguished public man, whose family occupied a suite of rooms at the same hotel,) besides he was young graceful, and exceedingly handsome. His breakfast was soon finished, he rose as the lady did, and they walked together to the door, where his silk hat, light overcoat, cane and gloves were lying on a table. He laid the coat on his left arm, and with hat, gloves and cane in his hands, he bowed to the young lady and passed along the hall way and down the steps to the office, placing his hat and coat on and leisurely gloving one hand, he noticed that it was after eleven by the hotel clock, as he sauntered towards the door on the Avenue. At this time two handsomely dressed young ladies were passing – he bowed, they acknowledged the salutation and entered the parlor hallway of the hotel. Had any one been looking on when he drew and opened an encased picture from a side pocket, the likeness of one of the two ladies would have been recognized in the subject of the ambrotype. He quickly replaced the picture in his pocket, and started in an easy loitering walk towards 6th street…”

Ford paints a compelling and almost theatrical scene in this article. Booth shares a meal in the same room as an acquaintance, Carrie Bean, who admires the matinee idol and delays completing her meal so that they will finish at the same time. Always the gentleman, Booth escorts Carrie Bean from the breakfast room and bids her adieu. Preparing to depart the hotel, Booth comes across Lucy Hale, his secret fiancee, with an escort, most likely her sister Lizzie. The public nature of their meeting in the hotel parlor, along with Lizzie’s presence, prevents the lovers from acknowledging each other with anything beyond the same polite pleasantries Booth had just demonstrated with Miss Bean. But the couple still lock eyes and exchange a knowing smile. As the Hale sisters pass him, Booth takes out the image of Lucy he keeps on his person, the same image that will later be found in his pocket diary upon his death. Booth looks upon Lucy’s face before placing it in his pocket. He exits the National Hotel on his way to Ford’s Theatre where he will get confirmation that Lincoln would be attending that night, altering his future, and Lucy’s, forever. If I were to direct such a scene, I pan away from the hotel door after Booth exits out onto the street and turn back to Lucy Hale. Lizzie would be prattling on about something innocuous but our focus would be on Lucy’s face, which would still be a bit blushed from having a small moment of connection with her secret fiancee. She continues ignoring Lizzie and looks at the door Booth exited out of, longing for him to come back. But she never sees him again.

It’s a scene worthy of a theater owner and a pair of star-crossed lovers like John Wilkes Booth and Lucy Hale, but this account is likely just as fictitious as Romeo and Juliet. While John T. Ford no doubt took an interest in learning as much as he could about the events that led up to the President’s assassination at his namesake theater, his absence from the city on the day in question, and his many contradictions throughout the years, make it impossible to put any faith in his accounts regarding Booth’s breakfast. Sadly, aside from John T. Ford, I have been unable to find any compelling evidence to support the idea that John Wilkes Booth had breakfast with Lucy Hale on the morning of April 14, 1865. I don’t believe John Wilkes Booth dined with Lucy Hale that morning. At what point the pair saw each other for the last time will likely always be a mystery.


Epilogue

When I first started reading and doing research about the Lincoln assassination, I avoided the topic of John Wilkes Booth’s romantic entanglements like the plague. Booth was rumored to have been involved with so many different women that the late Dr. Ernie Abel wrote an entire 352-page book about them all. Booth engaged in numerous flings with women that he merely used and then disposed of. While Lucy Hale appears to have been a special case, I still don’t believe that Booth had the capacity to make any long-term relationship work, especially a marriage. Booth was a narcissist with an insatiable desire to be admired and revered. While Booth tried to portray Lincoln’s assassination as an act of justice for the South, it was more an attempt for glory and immortality for himself. Even if he had chosen not to assassinate Lincoln, I believe his relationship with Lucy was still doomed. Booth’s inability to feel fulfilled by any single person would have caused him to stray and ruined Lucy’s life as a result.

With that being said, I do believe that John Wilkes Booth thought he loved Lucy Hale. I say he thought he loved her because I don’t know how capable Booth was of truly loving someone other than himself. Booth’s version of love was not enough to stop him from killing Lincoln, but I believe he did think of Lucy Hale during his final days on the run. In fact, I think he left a final message for Lucy in his diary.

As mentioned earlier, before committing his crime, John Wilkes Booth left a lengthy letter for publication in the newspapers. This was his detailed explanation of why he had taken the drastic action of killing the President. John Mathews destroyed the letter shortly after the assassination for fear of being connected to the crime. While on the run from the authorities, the assassin clambered for newspapers and was dejected to find his words had not been published. Perhaps predicting that he would not survive long enough to try and justify his actions to the world in person, Booth decided to compose another manifesto. With a notable lack of paper, John Wilkes Booth was forced to take down his thoughts in his small datebook from 1864. It was in a pocket of this datebook that he held Lucy Hale’s photograph. Booth ripped out the previously used pages and started the datebook fresh, labeling his main entry as “April 14, Friday the Ides”.

Much has been written about the text of John Wilkes Booth’s diary. Yet, a central section of his diary has been mainly ignored in practically all analyses of his motivations, mindset, and mood. Before writing anything about his deed or his reasonings, Booth opens his diary with two words that stand alone.

The words are “Ti Amo“. The phrase is Italian and translates to, “I love you.”

If Booth had written “I love you” in English, the message could be interpreted as being for anyone, a final note to his mother and siblings perhaps. But writing the phrase as “Ti Amo” codes this phrase in a way that makes it more specific. It is intended for a specific person, who, upon reading it, should know it was for them and them alone.

I contend that this “Ti Amo” was Booth’s final message for Lucy Hale. We know that Lucy was learning Spanish in preparation for her family’s departure to Spain. John Wilkes Booth traveled from D.C. to New York City in March of 1865 in order to visit Lucy, who was taking Spanish lessons in the city. While “Ti Amo” is Italian and not Spanish, it is only one letter different from the Spanish phrase for “I love you”. Perhaps Booth meant to write the Spanish “Te Amo” but ended up with the Italian “Ti Amo” by mistake. Or perhaps the Italian version was a playful response to Lucy’s own “Te amo”. In my view, writing “I love you” in a foreign language in his diary was a way for Booth to announce his love specifically for Lucy without endangering her further by mentioning her name. I might be giving John Wilkes Booth more romantic credit than I should, but I truthfully cannot think of who else this message was meant for other than his secret fiancee, Lucy Hale.

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“Farewell to Ford’s – and welcome Ford’s again”

On this date, August 27, 1863, John T. Ford reopened his namesake theater in Washington, D.C. About 8 months earlier, Ford’s Theatre had suffered a terrible fire that had completely gutted the original building. Despite the difficulties of raising funds in the midst of the Civil War, Ford was determined not to give up on his D.C. location and decided to rebuild. But rather than just rebuilding the theater to what it was previously, Ford wanted the new iteration of his theater to be even better than before. This was relatively easy to do since the first version of Ford’s Theatre was a remodeled Baptist church building. Functional enough for the role of a theater, but it had not been designed for the part. Ford spared no expense on his new custom theater, selling stock certificates like the one below to help raise the over $75,000 he needed to rebuild his dream.

The architect of the new theater was James J. Gifford, the same man who had constructed the Booth family home of Tudor Hall back in the early 1850s. There were many delays with construction due to issues with the foundation and a shortage of bricks in wartime Washington. When the building did open on this day, the exterior was still a bit incomplete. The interior, however, was finished and well designed for the viewing public. The acoustics had been improved so that each seat allowed for the best hearing of the actors on stage. The new theater had updated ventilation to help bring in fresh air and the interior ceiling was beautifully painted, resembling a dome. The expanded theater bore three different levels of seats. The main floor and second floor balcony both had moveable wooden chairs with cane seats, while the third level, dubbed the family circle, contained long wooden benches. In all the theater could hold approximately 2,500 patrons. For reference, Ford’s Theatre only has 665 seats today so those 2,500 patrons would have really been squished in there by modern standards (and fire codes).

Photograph taken of the interior of Ford’s Theatre after the assassination showing the President’s box and the three audience tiers.

When the doors opened on this day for the debut performance inside Ford’s New Theatre, the public was enraptured. John T. Ford had gone all out for his grand re-opening. The piece performed was a play called The Naiad Queen, which was more a grand spectacle than a traditional play. The sets were large and beautifully decorated. There were gorgeously painted backdrops. The costumes were lavish and glittery and the performance contained lively music throughout. Think the Disney movie, Fantasia, and you’ll have a sense of what Ford decided to start off with. It really was the perfect show to draw people and in and make them admire this brand new temple to the arts.

Yet, before all that “dazzling splendor of effect” took place, Ford arranged for the evening to begin with the reading of a dramatic poem to christen this new theater. The poem was written by Thomas Seaton Donoho, a local D.C. journalist and poet.

While it was originally expected that the poem would be read by one of the ladies of the cast, it was eventually decided the honor of reciting the first words on the brand new stage would go to actor James A. Herne, one of the promising newcomers to Ford’s company. While parts of the poem, especially its opening lines, can be found in newspaper articles covering the grand opening and elsewhere, as far as I can tell, the full poem has never been transcribed before. An original, handwritten copy of the entire Donoho poem is held in the John T. Ford Papers at the Library of Congress – which I photographed a few years ago. For the anniversary of Ford’s reopening, I thought I’d provide the full poem below. As you read it, take note of the part where Donoho references some of the great actors who graced the D.C. stages in the past, and the great performances that are still to come in this new theater. You’ll see a familiar name.

“Address
For the Opening of Ford’s Theatre, Washinton
August ___, 1863
Spoken by Miss ____ ______.

I.
As from the ashes Cinderella rose,
Rise we, all radiant from our night of woes,
That starry night, which, suddenly, became
Black with vast clouds and terrible with flame;
And you, dear Friends, and we who tread the boards,
Gave one long sigh, and said: “Farewell to Ford’s!”

II.
“Farewell to Ford’s” – and welcome Ford’s again:
A nobler Palace for the Muses’ reign!
May Beauty’s smile, and Man’s approval, grace,
And happier fortune crown, our brave new place!

III.
“New Place!” The term came surely not by chance:
It bears an omen of significance;
For Shakespeare thus his home at Stratford named:
And our New Place, for his sake, shall be famed!

IV.
Shakespeare! That magic name we ever speak
With love on lip, joy on the kindling cheek,
Pride in the eye, and wonder on the brow:
What may the Past, what may the boastful Now,
Inscribe above it? To our fathers’ Isle,
From this wild shore, there was a chain erewhile,
And Shakespeare was our brother. That Debate
Which broke the chain, and formed our Starry State,
Even among its awful questions, gave
Grandeur to this: “Our liberty we save –
Our home – but lose our Shakespeare!” Was he lost?
No! in our hearts, however tempest-tost,
We bore him, till the storm awoke no more,
Then said: “We were a few, who loved before –
Lo! a New World, to love thee, gentle brother,
With a full reverence, loyal as the other

V.
So the chain binds us yet, in war’s despite,
A stronger chain, electric, golden, bright:
And we, the living forms of Shakespeare’s dream,
Touched by his wand, become things we seem.
We seek his very depths, else seldom sought,
And are the active Ariels of his thought,
Proud, while the wanderings of his worth we trace,
To lure, delight, instruct the human race!

VI.
All joys that cheer, all griefs that storm, the heart,
Find on the Stage their careful counterpart.
All nations walk on this enchanted ground,
All ages move in this mysterious round.
Time’s breathing panorama is unrolled
To music, and its wondrous history told,
With such impressiveness, that printed book,
Painting on wall, or statue in its nook,
Fades into air: for we, at once, maintain
Dominion o’er the eyes, ears, heart and brain!

VII.
Is there, to-night, amid our goodly show,
One who remembers, many years ago,
The Stage, in Washington? There is, no doubt:
Guide me, O Fortune! Till I find him out!
Surely I see him there – and there – and there:
I know him by the thoughts his eyes declare –
Those restless eyes, that glance from roof to floor,
Box to Parquette, and o’er, and o’er, and o’er!
What visions rise and flit along his mind!
The Present dazzling so, he scarce can find
The pictures of the Past –  and yet the Past
To him was dear, and shall be, to the last!

VIII.
What though the old-time Theatre was small,
And long-wick’d candles dozed on stage and wall –
Those sombre meteors, duly snuffed, between
The falling curtain and the opening scene:
What though the rival pit and gallery strove,
As once the gods with “cloud-compelling love:”
Yet, on that dim stage, Falstaff Warren strode,
Called for his “sack”, and, bullying, “took the road:”
Here, Jefferson, the genial, good old man,
Raised mirth so high that all to tears it ran:
Here, Booth, swift darting from his haunted tent,
His soul’s mad terror to our own souls sent:
Then Forrest, in his early glow of fame,
Armed cap-à-pé, at once a conqueror came,
And still to conquer: Charlotte Cushman, then,
Appeared – not walked – within the witch’s glen;
So startling, every motion, look and tone,
We saw, we heard Meg Merrilies alone!

IX.
Such are your thoughts, dear friend of other days:
The Past deserved, and shall receive, our praise,
Even as your own; but glory lingers yet,
Though the long triumph of the sun be set.
Forrest and Cushman still resplendent shine:
For them may happy years their chaplets twine!
Your grand King Richard, true, has ceased to reign:
His sons survive – he lives in them again!
While Hacket, valorous Falstaff, fat and witty,
Like Warren walks, and shakes your ponderous City!
These come, and many – far beyond my rhymes –
To make the present, soon, “the good old times!”

X.
But I forget: – We have a play, to-night.
All who are here, low bending, we invite
To see it through: To all whom you may bring
Hereafter, will we say – some equal thing,
And do, whatever of the best we may,
To win your favor for ourselves and play!

XI.
Now – and herewith our small oration ends –
Long Live the Drama, and the Drama’s Friends!

Thomas S. Donoho
Washington City,
D.C.”

Did you catch the references I mentioned? In stanza 8, Donoho writes, “Here, Booth, swift darting from his haunted tent, His soul’s mad terror to our own souls sent”. This line is about the acting of Junius Brutus Booth, Sr., in the role of Richard III. The elder Booth was known for his authentically terrifying portrayals of Richard and the way in which he embodied the mad king. Donoho recalls that some of the legends still remain but Junius Brutus Booth is not one of them, he having died in 1852. However, the loss of Junius does not mean the end of his dynastic power. As Donoho writes in stanza 9, “Your grand King Richard, true, has ceased to reign: His sons survive – he lives in them again!” The sons of “King Richard” are Junius’ three sons who followed him into acting and carry on his spark. While Junius, Jr. was a decent actor, he never really took to the part of Richard III. Edwin, too, was far better suited for the brooding Hamlet and only received modest praise for his attempts at the Duke of Gloucester. In truth, the only Booth son whose Richard III emulated his father’s was John Wilkes Booth. Wilkes played Richard III more often than any other character during his career for a total of 114 times during his four years as a star performer. While the different talents of Junius, Sr. were spread amongst all of his children, Wilkes was the only true successor to his father’s Richard.

I find it a strange twist of fate that John Wilkes Booth is obliquely referenced in the first words spoken on the stage of the restored Ford’s Theatre. In Dec. of 1862, Ford’s had suffered a disaster that nearly destroyed everything. And here, when the building finally reopened, the first speech uttered on stage references the man who will cause them (and the entire country) another disaster.

The first time a fire struck, it took eight months for John T. Ford to pick up the burned pieces of his theater and rebuild. After the inferno that is John Wilkes Booth burns itself out, however, it will take decades for the country to rebuild and Ford’s Theatre won’t see another play performed on its stage for almost 103 years.

Categories: History, OTD | Tags: , , , , , | 1 Comment

The Lincoln Assassination On This Day (July 4 – July 31)

Taking inspiration from one of my favorite books, John Wilkes Booth: Day by Day by Art Loux, I’m documenting a different Lincoln assassination or Booth family event each day on my Twitter account. In addition to my daily #OTD (On This Day) tweets, each Sunday I’ll be posting them here for the past week. If you click on any of the pictures in the tweet, it will take you to its individual tweet page on Twitter where you can click to make the images larger and easier to see. Since Twitter limits the number of characters you can type in a tweet, I often include text boxes as pictures to provide more information. I hope you enjoy reading about the different events that happened over the last week.

This post is an especially long one, comprising of almost an entire month of tweets. It will take quite a long time to load.

NOTE: After weeks of creating posts with multiple embedded tweets, this site’s homepage now tends to crash from trying to load all the different posts with all the different tweets at once. So, to help fix this, I’ve made it so that those viewing this post on the main page have to click the “Continue Reading” button below to load the full post with tweets. Even after you open the post in a separate page, it may still take awhile for the tweets to load completely. Using the Chrome browser seems to be the best way to view the tweets, but may still take a second to switch from just text to the whole tweet with pictures.

Continue reading

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The Lincoln Assassination On This Day (May 30 – June 5)

Taking inspiration from one of my favorite books, John Wilkes Booth: Day by Day by Art Loux, I’m documenting a different Lincoln assassination or Booth family event each day on my Twitter account. In addition to my daily #OTD (On This Day) tweets, each Sunday I’ll be posting them here for the past week. If you click on any of the pictures in the tweet, it will take you to its individual tweet page on Twitter where you can click to make the images larger and easier to see. Since Twitter limits the number of characters you can type in a tweet, I often include text boxes as pictures to provide more information. I hope you enjoy reading about the different events that happened over the last week.

NOTE: After weeks of creating posts with multiple embedded tweets, this site’s homepage now tends to crash from trying to load all the different posts with all the different tweets at once. So, to help fix this, I’ve made it so that those viewing this post on the main page have to click the “Continue Reading” button below to load the full post with tweets. Even after you open the post in a separate page, it may still take awhile for the tweets to load completely. Using the Chrome browser seems to be the best way to view the tweets, but may still take a second to switch from just text to the whole tweet with pictures.

Continue reading

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The Lincoln Assassination On This Day (January 1 – January 31)

On the first of 2022, I started back up with my daily On This Day (OTD) tweets over on my Twitter account, @LinConspirators. While I know it’s not the same as more regular postings here on the blog of in-depth research, with my busy work, life, and family responsibilities it’s been hard to find time to really research. Hopefully these collective tidbits from the last month will be enough to appease you all.


Taking inspiration from one of my favorite books, John Wilkes Booth: Day by Day by Art Loux, I’m documenting a different Lincoln assassination or Booth family event each day on my Twitter account. In addition to my daily #OTD (On This Day) tweets, each Sunday I’ll be posting them here for the past week. If you click on any of the pictures in the tweet, it will take you to its individual tweet page on Twitter where you can click to make the images larger and easier to see. Since Twitter limits the number of characters you can type in a tweet, I often include text boxes as pictures to provide more information. I hope you enjoy reading about the different events that happened over the last week.

NOTE: After weeks of creating posts with multiple embedded tweets, this site’s homepage now tends to crash from trying to load all the different posts with all the different tweets at once. So, to help fix this, I’ve made it so that those viewing this post on the main page have to click the “Continue Reading” button below to load the full post with tweets. Even after you open the post in a separate page, it may still take awhile for the tweets to load completely. Using the Chrome browser seems to be the best way to view the tweets, but may still take a second to switch from just text to the whole tweet with pictures.

Continue reading

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The Imp in Nanjemoy

On November 6, 1873, The Daily Graphic, an illustrated newspaper similar to Harper’s Weekly or Frank Leslie’s, published an article by one of their correspondents who went by the nom de plume, Laertes. The piece was partly an interview Laertes had with three of John Wilkes Booth’s former associates John McCullough, John T. Ford, and Harry Clay Ford. The Ford brothers were the owners and operators of Ford’s Theatre where the assassination took place with Harry Ford having spoken to and innocently alerted John Wilkes Booth of President Lincoln’s planned attendance at the theatre on April 14th. John McCullough was a fellow actor and close friend of Booth’s. The last time John Wilkes Booth performed onstage was in a benefit performance for McCullough on March 18, 1865 at Ford’s Theatre. All three men knew Booth well but were all very much shocked by the assassination. Laertes’ interview with these men doesn’t uncover any earth shattering revelations, but does produce some interesting reflections 8 years after Booth’s crime.

John McCullough described Booth as, “a wonderful compound of poetry, adventure, and disease.” McCullough recounted that one time in the spring of 1865 when he and Booth were sharing a room at the National Hotel in D.C., Booth had McCullough go out riding with him. “He imposed on my good nature by making me get on a horse, and ride here and there with him by forts, ferries, and bridges, saying, ‘Now, Johnny, if a man was to get in a tight place and have to break out of this city, there would be one opportunity.’ ‘What do I want to see that for, Booth?’ I used to say. ‘I prefer the leave by the cars. Besides, the broad of my back is all skinned by this pampered jade of Asia.'” McCullough also recalled how Booth, “was always practising gymnastics at Brady’s gymnasium.”

Interestingly, on the morning of the assassination, while Booth was at Ford’s Theatre getting his mail, he was conversing with Harry Clay Ford about Brady’s gymnasium. Harry Ford wished to go into partnership with Mr. Brady and was hoping that his brother John T. Ford, Booth, and the owner of the Star Saloon adjoining Ford’s, Scipione Grillo, would become investors in the endeavor. When talking to authorities in 1865, Harry recalled that on the morning of the assassination he asked Booth about about investing. Booth replied, “Harry, that is too much money. You can build a gymnasium for that.” Harry replied that the plan was to rebuild the gymnasium and make it better to which Booth replied noncommittally, “Well, I will see about it.” Just like everyone else in Booth’s life, Harry Ford did not know that Booth was low on funds due to his failed oil ventures, retirement from full time acting, and the expenses connected to his plot against the President. One wonders if he even had the funds to pay for his gym membership.

“Booth was crazy for fame,” John T. Ford told Laertes during his interview. He recounted the many plans Booth had concocted to kidnap the president and asserted that, “had General Grant come to the theatre with Mr. Lincoln that night, [Booth] would have shot them both.” John Ford concluded that Booth’s entire assassination plot was, “very vagarious and boyish,” and that it was only, “coincidence or good luck” that made it successful. John T. Ford also claimed that, in regards to the final disposition of the horses that Booth and Herold rode out of Washington, he had, “seen a person who saw the dead horses at the river side. The crows were already assembling for a feast. Suddenly a freshet came and carried the carcasses off on the tide. That’s the end of that mystery.”

In addition to this brief interview with three of Booth’s associates, the article also recalled a trip Laertes had made into Southern Maryland following the path of Booth’s escape. At the time of Laertes’ writing it was not yet widely known of the role Thomas Jones had played in secreting and then putting the assassins across the Potomac river. Still, even with this missing piece, Laertes had done a good job retracing the path of Booth including the villages of Piscataway, Port Tobacco, T.B., and Surrattsville. In Surrattsville, Laertes took the time to sketch Mrs. Surratt’s former tavern but for some reason, this illustrated newspaper decided not to include it. In Port Tobacco, Laertes saw George Atzerodt’s former carriage shop and met with Frederick Stone who had acted as defense counsel for David Herold and Dr. Mudd during the conspiracy trial. Laertes referenced that Dr. Mudd, “still resides at Bryantown, a sadder and a wiser man,” but doesn’t appear to have visited him. In describing the other surviving conspirators Laertes wrote:

“John Surratt has been recently married to a Miss Hunter, of Rockville, Md., a lady of a respectable country-side family. Like many surviving assassins, he feels that his crime has made a great man of him, although he was afraid to come to the rescue of his mother. Sam Arnold is in Baltimore, the worse for barroom wear, for the same reason; and poor old Spangles [sic], the scene-shifter, has got a great red nose on him for being treated so often. He takes it straight.”

The bulk of Laertes’ article, however, is actually devoted to a unique poem the correspondent wrote after concluding his tour of “Lower Maryland”. Inspired by the fields, forests, swamps, and rivers that Booth encountered on his escape, Laertes wrote a poem that he entitled The Imp of Nanjemoy. In it, the impish devil John Wilkes Booth is haunted by the word Nanjemoy throughout his ultimately failed escape from justice. For context, Nanjemoy Creek is a tributary of the Potomac River located in Charles County, Maryland. When John Wilkes Booth and David Herold failed to cross the Potomac the first time, they ended up landing in Nanjemoy Creek and spending about 48 hours there before trying to cross to Virginia again. Laertes knew about this part of the escape and it inspired him to write this poem.

The Imp in Nanjemoy

Dull in the night, when the camps were still,
Thumped two nags over Good Hope Hill;
The white deserter, the passing spy,
Took to the brush as the pair went by;
The army mule gave over the chase;
The Catholic negro, hearing the pace,
Said, as they splashed through Oxon Run;
“Dey ride like the soldiers who speared God’s son.”
But when Good Friday’s bells behind
Died in the capital on the wind,
He who rode foremost paused to say:
“Harold, spur up to my side, scared boy!
A word has run in my ears all day –
Merely a jingle, ‘Nanjemoy.’”

“Ha!” said Harold, “John, why that’s
A little old creek on the river. Surratt’s
Lies just before us. You halt on the green
While I slip in the tavern and get your carbine.”
The outlaw drank of the whiskey deep,
Which the tipsy landlord, half asleep,
Brought to his side, and his broken foot
He raised from the stump and slashed the boot.
“Lloyd,” he cried, “if some news you invite –
Old Seward was stabbed on his bed to-night.
Lincoln I shot – that long-lived fox –
As he looked at the play from the theatre box;
And it seemed to me that the sound I heard,
As the audience fluttered, like ducks round decoy,
Was only the buzz of a musical word
That I cannot get rid of – ‘Nanjemoy.’”

“Twenty miles we must ride before day,
Cross Mattawoman, Piscataway,
If in the morn we would take to the woods
In the swamp of Zekiah, at Doctor Mudd’s!”
“Quaint are these names,” thought the outlaw then.
“Though much I have mingled with Maryland men.
I have fever, I think, or my mind’s o’erthrown.
Though scraped is the flesh by this broken bone,
Every jog that I take on this road so lonely,
With thoughts, aye bloody, my mind to employ,
I can but say, over and over, this only –
The drowsy, melodious ‘Nanjemoy.’”

Silent they galloped by broken gates,
By slashes of pines around old estates;
By planters’ graves afield under clumps
Of blackjack oaks and tobacco stumps;
The empty quarters of negroes grin
From clearings of cedar and chinquopin;
From fodder stacks the wild swine flew,
The shy young wheat the frost peeped through,
And the swamp owl hooted as if she knew
Of the crime, as she hailed: “Ahoy! Ahoy!”
And the chiming hoofs of the horses drew
The pitiless rhythm of “Nanjemoy.”

So in the dawn as perturbed and gray
They hid in the farm-house off the way,
And the worn assassin dozed in his chair,
A voice in his dream, or afloat in the air,
Like a spirit born in the Indian corn –
Immemorial, vague, forlorn,
And disembodied – murmured forever
The name of the old creek up the river.
“God of blood,” he said unto Harold,
As they groped in the dusk, lost and imperilled,
On the oozy, entangled morass and mesh
Of hanging vines over Allen’s Fresh:
“The chirp of birds and the drone of frogs,
The lizards and crickets from trees and logs
Follow me yet, pursue and ferret
My soul with a word which I used to enjoy,
As if it had turned on me like a spirit
And stabbed my ear with its ‘Nanjemoy.’”

Ay! Great Nature fury or preacher
Makes, as she wists, of the tiniest creature-
Arming a word, as it floats on the mind,
With the danger of wrath and the wing of the wind.
What, though weighted to take them down,
Their swimming steeds in the river they drown,
And paddle the farther shore to gain,
Chased by gunboats or lost in rain?
Many a night they try the ferry
And the days in haggard sleep employ,
But every raft, or float, or wherry,
Drifts up the tide to Nanjemoy.

“Ho! John, we shall have no more annoy,
We’ve crossed the river from Nanjemoy.
The bluffs of Virginny their shadows reach
To hide our landing upon the beach!”
Repelled from the manse to hide in the barn,
The sick wretch hears, like a far-away horn,
As he lies on the straw by the snoring boy,
The winding echo of “N-a-n-j-e-m-o-y.”
All day it follows, all night it whines,
From the suck of waters, the moan of pines,
And the thread of cavalry following after,
The flash of flames on beam and rafter,
The shot, the strangle, the crash, the swoon,
Scarce break his trance or disturb the croon
Of the meaningless notes on his lips which fasten,
And the soldier hears, as he seeks to convoy
The dying words of the dark assassin,
A wandering murmur, like “Nanjemoy.”

References:
Daily Graphic (New York, NY), November 6, 1873, 34 – 35. Accessible here and here.
William C. Edwards and Edward Steers, Jr., ed, The Lincoln Assassination: The Evidence (Chicago: University of Illinois Press, 2009), 518.

Categories: History | Tags: , , , , , | 6 Comments

The Ford’s Theatre Orchestra

“More is probably known about the people who were at work in Ford’s Theatre on the night of April 14, 1865, and about the topography of the theatre itself than of any other house in the world. We know the names, habits, and duties of every actor, stagehand, ticket-taker, box-office man, and usher*, and we know who many of the audience were.”

This quote comes from the doctoral dissertation of John Ford Sollers, the grandson of Ford’s Theatre owner, John T. Ford. While Sollers’ claim wasn’t quite true when he wrote it in 1962, thanks to modern scholarship, we now really do know a lot about the actors and stagehands of Ford’s Theatre on the night of Lincoln’s assassination. However, despite the wealth of information historians have discovered, we still have one blind spot in our knowledge of the inner workings of the theater that night. This blind spot was even acknowledged by Sollers in his day, forcing him to add a footnote after the word “usher” in the quote above. The footnote attached to it admitted that:

“Unless further information has been found, we do not know the names or even the number of the orchestra”

Music was a crucial part of the theater experience in the Civil War era. Even during non-musical performances (like the comedic play Our American Cousin) an overture and entr’acte music were expected by audiences. Theaters were houses of entertainment and an orchestra was part of what you paid for when you bought your ticket. We know that Ford’s Theatre had an orchestra. We know that President’s Lincoln’s party, arriving late to the theater, was greeted by that orchestra. But how much do we really know about the musicians who played that fateful night?

The big challenge when it comes to determining the identities of the orchestra members at Ford’s Theatre, is that we lack any sort of list from the period. When John Ford Sollers was writing his dissertation about his grandfather, he had access to documents that had belonged to John T. Ford and even he could not come up with the names of any members of the orchestra aside from its director. Over the past week, with the assistance of fellow researcher Rich Smyth, I have assembled a partial list of those who were said to have been in the orchestra the night Lincoln was killed. The evidence supporting their attendance is, overall, extremely weak and varies greatly from man to man. Every name must be taken with a grain of salt and, aside from William Withers, we cannot guarantee that any of these men were actually present. With that being said, what follows is the list of the possible Ford’s Theatre orchestra members on April 14, 1865:

William Withers – orchestra director
George M. Arth – double bass
Scipione Grillo – baritone horn
Louis Weber – bass
William Musgrif – cello
Christopher Arth, Sr. – violin
Henry Donch – clarinet
Reuben Withers – drums
Henry Steckelberg – cello
Isaac S. Bradley – violin
Salvadore Petrola – cornet
Joseph A. Arth – drums
Paul S. Schnieder – possibly violin or trumpet
Samuel Crossley – violin
Luke Hubbard – triangle and bells

Below you will find little biographies of each man and the evidence we have about their presence at Ford’s Theatre. I’ve placed them in an order that arranges them from more likely to have been at Ford’s to less likely to have been at Ford’s. Judge the evidence for yourself as we explore the boys in the band.


William “Billy” Withers, Jr. – orchestra director

In 1862, when John T. Ford first remodeled the Tenth Street Baptist Church and opened it up as Ford’s Atheneum, he hired a musician named Eugene Fenelon to be his orchestra director. As director, Fenelon not only conducted the orchestra on a nightly basis, but was also tasked with the duty of recruiting and hiring musicians to ensure that Ford would have an ample sized band each night. In this capacity, Fenelon recruited local D.C. musicians. Fenelon remained as Ford’s orchestra director until a fire struck Ford’s Atheneum in December of 1862. The loss was a hefty one for John Ford at about $20,000. Consumed in the fire was a bulk of the orchestra’s instruments and music. While Fenelon stayed in D.C. during the process of rebuilding that followed, when the new theatrical season opened in the fall of 1863, Fenelon took a job as the orchestra leader of the recently opened New York Theatre in NYC. Ford was then tasked with finding a new orchestra leader for his new theater. He chose to put his faith in a 27 year-old violinst and Union veteran, William “Billy” Withers, Jr.

Withers was from a musical family and, at the beginning of the war, he and his father and brothers had joined the Union army and served as members of a regimental band. The bands provided music during marching and aided with the morale of the men. In the late summer of 1862, however, Congress passed a law abolishing regimental bands, feeling that the service had been abused by non-musical men trying to avoid regular duty and that the bands were not worth the cost during war time. Though Withers stayed on for some time after the dissolution of his band and acted as a medic, he was eventually discharged. Withers excitedly took up John T. Ford’s offer to be his new band leader. When the new Ford’s Theatre opened in August of 1863, Withers’ orchestra, and his experience playing patriotic music was complimented.

“The music under the leadership of Prof. Wm. Withers was highly pleasing, and the execution of the national airs gave a spice to the entertainment, which was fully appreciated.”

Ford’s Theatre had always had a healthy competition with their Washington rival, Leonard Grover’s National Theatre. As the two leading theaters in the city, the press abounded in making comparisons between the two houses. One way the theaters rivaled each other was with their orchestras. While a normal theater orchestra at the time would contain about ten musicians on a nightly basis, both Ford’s and Grover’s began advertising that their orchestras had been “augmented” to include more musicians. It appears that Withers continued to augment the orchestra during his tenure and found his growing of the band to be a point of pride. “Our orchestra under the Brilliant Leader Prof. William Withers, Jr. is considered second to no theatre South of New York,” proclaimed one Ford’s Theatre advertisement. Another highlighted the fact that the orchestra, “has lately been increased and numbers now nearly a Quarter of a Hundred first class Instruments,” and that it had been, “lately largely augmented and is now unsurpassed in numerical and artistic strength.” Billy Withers was a great asset to Ford during his first theatrical season. In addition to his duties as conductor of the orchestra, Withers would occasionally volunteer his services as a solo violinist for special occasions.

Theatrical seasons ended during the hot months, which left many musicians without jobs during the summer. Without the steady (albeit small) income from the theaters, musicians had to make their own arrangements. During this time, many teamed up with other musicians to play small concerts in music halls. With his connections, Withers was able to rent out bigger venues. During the summer of 1864, Withers and his orchestra played concerts at both Grover’s and Ford’s theaters. On July 10, 1864, Withers presented a “Concert of Sacred Music” at Ford’s during for which he brought in two vocalists and, “forty musicians of the best talent in the city, forming an array of talent such has never before appeared jointly in Washington.” The concert was well received and the proceeds helped the D.C. music scene make it through the lean summer.

When the 1864-65 theatrical season opened in the fall, Withers was rehired by Ford to be his orchestra director. The season started without a hitch but, in January of 1865, Withers experienced some unaccustomed criticism of his orchestra in the press. In comparing the two main D.C. theaters, a reviewer from the National Intelligencer stated that, “In some respects, Mr. Ford has done better. His theater has been uniformly dignified, and he has succeeded in procuring a different class of stars from those played by his competitor…but his stock company has not by any means been all that it should be, and his orchestra needs improvement.” It appears that, perhaps due to this critique, Withers began the process of augmenting the Ford’s Theatre orchestra again. His attention on the theater orchestra was a bit distracted however, as Withers was chosen to provide some of the music for President Abraham Lincoln’s second inauguration ball. He entered into a contract in which he would be paid $1,000 for forty pieces of music. Withers not only used the local talent at his disposal but also brought in musicians from New York. After the inauguration was over, it’s likely that a few of these musicians from New York were hired by Withers to augment the Ford’s Theatre band.

As much as John T. Ford liked being the best, he and Leonard Grover had realized the costly arms race that dueling orchestras would cause them. It appears that some time over the last two years, the two theater owners had come to an mutual understanding regarding the size of their orchestras. Rather than continuing in attempting to one-up each other, they had put an unknown limit on each other in order to keep the houses equal. When Withers began increasing the size of the orchestra in early 1865, Ford objected, fearing it would break the truce with Grover. On April 2, 1865, Ford wrote a letter to his stage manager, John B. Wright:

“Respecting the orchestra I have promised and wish to keep my word to make my orchestra the same number that Grover has in his – will you notify Withers that for the rest of the season, I wish it reduced. The necessity of this I will explain and stisfy you – If Grover wants Withers – he can go – O can easily supply his place. Let us have the same Instruments that Grover has – my honor is pledged to this.”

Rather than run off to Grover’s National Theatre, as Ford thought might occur, William Withers stayed at Ford’s Theatre and likely reduced his orchestra as ordered.

In addition to being a band leader and talented violinist, Withers also composed music. He wrote several polkas and instrumental pieces which were sold by local music shops. Another piece that he composed that he had not published was a song called “Honor to Our Soldiers”.

With the Civil War coming to an end in April of 1865, Withers was looking for a chance to perform his own patriotic air, which featured vocalists. He had arranged for a quartet of vocalists to perform the song on the evening of April 15th. However, during the morning rehearsal for Our American Cousin on April 14th, Withers heard the news that the Lincolns, possibly joined by the Grants, were coming to the show that night. Performing his song in front of the President and General Grant would make for a much better debut and so he decided to perform the piece that night instead. Not having time to arrange for formal vocalists for that night, Withers was forced to rely on the talent around him. Withers tapped three of his coworkers to sing solos in the song: May Hart, Henry B. Phillips, and George M. Arth. May Hart was a new member of the Ford’s Theatre stock company having been recently transferred from the Holliday Street Theatre in Baltimore. She was performing the minor role of Georgina that night. H. B. Phillips was the acting manager at Ford’s and it was his job to improve the quality of the stock actors. Phillips is credited as having written the lyrics for “Honor to Our Soldiers”. George Arth was actually a member of the Ford’s Theatre orchestra who is discussed later. In addition to these soloists, lead actress Laura Keene said she and other members of her company would be happy to sing along as back up.

As we know, the Lincoln party did not arrive at the theater on time. Knowing they were on their way, Withers was given instructions to play a longer than average overture in hopes they would appear. After 15 minutes elapsed without the Presidential party, the play began without them. When the Lincolns, Major Rathbone, and Clara Harris did make their appearance, the play was halted and Withers and his orchestra began playing “Hail to the Chief”. This was followed by a rendition of “See, the Conquering Hero Comes” as the Lincolns and their guests took their seats in the Presidential box. With that, the play went on.

Withers was initially promised that the performance of his song would occur during the intermission between the first and second acts. However, when the intermission came, he was told by stage manger John Wright that Laura Keene was not prepared to perform during this break and that the orchestra should play his normal intermission music instead. Though slightly annoyed, Withers was assured the song would be performed during the next act break. When the second act break came, however, Withers was once again informed that Laura Keene was not ready. When the third act began, Withers made his way out of the orchestra pit by means of the passageway that led under the stage. He was miffed that his song had been delayed twice. He made his way up one of the two trapdoors on either side of the stage and went to converse with John Wright backstage. Wright said that Withers should plan to perform the song at the conclusion of the play and that Laura Keene had already sent word to the Presidential party to please remain after the curtain fell. Angry at Wright, Withers spied Ford’s stock actress Jeannie Gourlay also backstage and went over to talk with her. It while was Withers was conversing quietly with Jeannie Gourlay about his troubles that the shot rang out.

What occurred next has been well documented. After shooting the President and slashing away Major Rathbone with his knife, John Wilkes Booth jumped from the Presidential box onto the stage. The only actor on stage at the time, Harry Hawk, turned and ran out of Booth’s path. Upon reaching the backstage, it was William Withers and Jeannie Gourlay who stood in the way of Booth’s exit.

“Let me pass!” Booth yelled as he slashed at Withers with his knife, cutting his coat in two places. Booth pushed past Withers and Gourlay, made his exit out the back door, and escaped on horseback into the Washington streets. Withers’ backstage encounter with Booth became a well known part of the assassination story and up until his death in 1916, the orchestra leader never passed up an opportunity to tell his tale. As far as evidence goes, William Withers’ attendance at Ford’s Theatre that night is airtight and even his slashed coat is on display in the Ford’s Theatre museum.

To read more on William Withers, pick up Tom Bogar’s book, Backstage at the Lincoln Assassination, or check out the following articles by Richard Sloan and Norman Gasbarro.


George M. Arth – double bass

Like William Withers, George Arth came from a musical family. At least two of his brothers and his cousin were active in the D.C. music scene. In August of 1861, George Arth joined the U.S. Marine Band, known as The President’s Own band. Arth could play many instruments, but his role in the Marine Band was that of a bass drummer. With the Marine Band, Arth would perform at important events around Washington, often for the President or other dignitaries. The job wasn’t full time, however, and many members of the Marine Band had other jobs in the city as music teachers or as theater orchestra members. In 1864, while Laura Keene was renting out and appearing at the Washington Theatre in D.C., she hired George Arth to be her orchestra director for the engagement. The job was temporary, however, and when she left the city, George Arth went back to being just an ordinary orchestra member at Ford’s Theatre.

Arth must have had a good singing voice since, as pointed out earlier, he was one of the Ford’s employees that Withers pegged to help him in the singing of his song, “Honor to Our Soldiers”. While we do not have any record of Arth’s whereabouts during the assassination, we can safely assume he was somewhere on the premises preparing for the song when the shot rang out.

An additional piece of evidence we have that places George Arth at Ford’s that night is a letter he wrote in the days following the assassination. After Lincoln was shot, the theater was shut down and subsequently guarded. Members of the Ford’s Theatre staff were brought in for questions and some were arrested. On a normal night, it was typical for the musicians to leave their instruments in the theater, especially when they were engaged to play the next day. While Arth likely assumed that the next night’s performance at Ford’s Theatre wasn’t going to occur, in the chaos that ensued after Lincoln was shot he was apparently unable to retrieve his own instrument. Unlike some of the other musicians who may have carried their instruments out of Ford’s with them, Arth played the largest bowed instrument in the orchestra, a double bass. After the government locked down Ford’s and started guarding it, no one was able to take anything out of the premises.

On April 21st, Arth wrote a letter to the general in charge of the guard detail asking for permission to retrieve his trapped instrument.

“Respected Sir,

I beg of you to grant me a permit to enter Fords Theatre & bring from it mu double bass viol & bow belonging to me & used by me as one of the orchestra at said theatre – as it is very necessary to me in my profession & I am suffering for its use.

I am humbly your servant

George M. Arth”

Arth’s request was approved and he was allowed to retrieve his double bass. Arth remained in D.C. after the war and continued working as musician. He died in 1886 at the age of 48 from consumption and was buried in Congressional Cemetery.


Scipione Grillo – baritone horn

A native from Italy, Scipione Grillo became a naturalized citizen in 1860. He originally made his home in Brooklyn, New York where he offered his services as a music teacher. By 1861, however, he had relocated his wife and kids to Washington and in July he joined the Marine Band. In addition to being a musician Grillo was a bit of a businessman. When John T. Ford rebuilt his theater after the 1862 fire, he devoted space on the first floor just south of the theater lobby to the creation of a tavern. As part of his property, Ford could lease it out for a profit and provide an easily accessible place for patrons to get drinks between acts. The tavern space was eventually leased by two Marine Band members, Peter Taltavul and Scipione Grillo, who co-owned the venture. They called their establishment the Star Saloon after the theatrical stars who would patronize it. On the night of Lincoln’s assassination, it was Taltavul’s time on duty and he acted as barkeep to the thirsty theater-goers. Taltavul has become famous for pouring John Wilkes Booth his last drink before the actor assassinated Lincoln.

Scipione Grillo’s partnership in the Star Saloon is often overlooked because he was spending that night in the orchestra instead of serving Booth. While Grillo was required to attend the trial of the conspirators during the entire month of May in 1865, he was never called to testify about his acquaintanceship with John Wilkes Booth and David Herold. It wasn’t until two years later, at the trial of John Surratt, that Grillo took the stand to state what he knew. During his routine questioning, Grillo was asked about whether he saw anyone out on the pavement of Ford’s during the show. He replied:

“No, sir. I was not out of the place myself. I was in the orchestra between the first and second acts; but in the third act we had nothing to do, (being always dismissed after the curtain is down,) and so I went out and went inside of my place.”

Grillo also stated that he was still inside of the Star Saloon when the assassination occurred. So, while he did not witness the assassination firsthand, he was among the members of the orchestra that night. Since it was part of the Ford’s Theatre building, the Star Saloon was also closed by the government, which ended Taltavul and Grillo’s business together.

Scipione Grillo appears to fall off of the map after his 1867 testimony. I have not been able to find any trace of him after that, but it is possible he, his wife, and children traveled back to Italy to live.


Louis Weber – bass

Louis Weber had been born in Baltimore in 1834 but his family moved to D.C. when he was four years old. He became a member of the U.S. Marine Band and played at the inauguration ceremonies for Presidents Buchanan and Lincoln. He was an active member of the Marine Band for 25 years.

In the same manner as George Arth, the evidence pointing to Weber being a part of the Ford’s Theatre orchestra was the return of his instrument by the government. While Weber’s original request does not seem to have survived, on April 28th, Col Henry Burnett (later one of the prosecutors at the trial of the conspirators) sent a telegram off to the general in charge of the Ford’s Theatre guards ordering him to, “send to this office, one bass violin the property of Louis Weber”. This order was fulfilled and later that same day, Louis Weber signed a receipt for his bass.

Weber lived out the remainder of his life in Washington. He died in 1910 from a stroke and was buried in Congressional Cemetery.


William Musgrif – cello

William Musgrif was born in England in 1812. After immigrating to America he settled in New York. As a musician, Musgrif was skilled in both the violin and the cello, but seems to have preferred the cello best. In 1842, Musgrif and his cello became founding members of the newly established New York Philharmonic. As part of the Philharmonic, Musgrif mentored younger players in the cello. By 1860, he, along with his wife and son, had moved to D.C. where he offered his skills as a music teacher. Musgrif was also the conductor for his own group in D.C. called the Mozart Society.

The evidence that William Musgrif also moonlighted as a member of the Ford’s Theatre orchestra comes from yet another letter written in the days after Lincoln assassination. William Withers had already written once and received a portion of his instruments that had been left at Ford’s that night, but he had not received all of them In May of 1865, Withers penned another letter asking for permission to get the “balance of my things” which included “sleigh bells, triangle, harmonica”. He also requested, “one instument, violocella, for Mr. Musgrive [sic]”

These items were inspected and then delivered to Withers. On May 7th, Withers signed a form stating her had received, “a lot of sleigh bells, a triangle, harmonica, and violincella being properties left at Fords Theatre on the night of the Assassination of President Lincoln.” Withers signed for both himself “and Mr. Musgive [sic]”.

William Musgrif continued to live in D.C. in the few years following the assassination. In 1868, an unfortunate incident caused Musgrif to make the acquaintance of another person who had been at Ford’s on April 14th. On February 19th, Musgrif was in the billiard room of the National Hotel observing a man named William Rogers, who was drunk. When Musgrif attempted to take the billiard balls away from the drunkard, Rogers “hit him over one of the eyes.” A police officer was summoned, arrested Rogers and proceeded to take down the 56 year old musician’s sworn statement. That responding police officer was none other that Officer John F. Parker, the man history has condemned for allegedly leaving Abraham Lincoln unguarded on the night of his assassination.

By the mid 1870s, William Musgrif had moved out to Colorado with his son. It is likely he died and was buried there.


Christopher Arth, Sr. – violin

Chris Arth was the cousin of George M. Arth, the would be soloist for “Honor to Our Soldiers”. His 1901 obituary, which is also one of the pieces of evidence for his presence at Ford’s Theatre, gives a good description of his life.

In addition to this obituary’s claim that Chris Arth was a member of the Ford’s Theatre orchestra, there is also a 1925 article from a D.C. correspondent known as the Rambler which supports the idea. I’ve briefly touched on the Rambler before. His real name was John Harry Shannon and he wrote for the Evening Star newspaper from 1912 to 1927. His stories involved local interest pieces and often involved him travelling around Washington talking to old timers. In an article he wrote about the history of D.C.’s music scene, the Rambler included a letter that was written to him by John Birdsell, the secretary of the Musicians’ Protective Union. You’ll notice that in the obituary above it states that Chris Arth was a member of the same union during his lifetime. Birdsell compliments the Rambler’s work and then poses a challenge to him:

“In this connection it may be possible that, during the course of your researches for the preparation of these writings, you may acquire a complete roster of the orchestra which played at Ford’s Theater the night President Lincoln was shot. I have had inquiry for this from several sources. The first came from somewhere in California. I communicated with the Oldroyd Museum, and while they did not possess this information, they expressed a desire to acquire it.”

After this, Birdsell proceeds to give the list of names he has been able to determine.

“To date the partial roster, which I have is as follows: Leader, William Withers; violin, Chris Arth, sr.; bass, George Arth; clarinet, Henry Donch; cornet, Salvatore Petrola.”

After this list Birdsell makes the final statement that since the average orchestras at the time consisted of 10 instruments he believes he is only half complete. Birdsell was likely unaware of Ford’s and Grover’s mutually agreed upon augmented orchestras which were no doubt larger than ten musicians.

If we trust his obituary and Birdsell’s list, then Chris Arth, cousin of George Arth, was in the orchestra at Lincoln’s assassination.


Henry Donch – clarinet

Henry Donch was a native of Germany who moved to the United States in 1854. He lived in Baltimore and was also a member of the Annapolis Naval Academy Band before he moved to Washington. Donch joined the U.S. Marine Band in August of 1864.

The evidence for Donch’s presence at Ford’s Theatre the night Lincoln was shot is the same as Chris Arth’s: the Birdsell list and his obituary:

An second obituary for Donch provided an additional detail regarding his alleged presence at Ford’s:

“Mr. Donch was a member of the orchestra at Ford’s Theater on the night Lincoln was shot. Mr. Donch, who was facing the assassin as he leaped from the box, always declared that Booth never uttered the phrase, ‘Sic Semper Tyrannis,’ which is attributed to him.”

While the general consensus is that Booth did, in fact, utter the phrase “Sic Semper Tyrannis” after shooting the President, Donch’s contrary claim does not, by itself, prove him to be a liar. The eyewitness accounts from Ford’s vary widely and it’s possible that, in the confusion, Donch truly did not hear or remember Booth stating these words.

Coincidentally, Henry Donch would observe another Presidential assassin, though this time during the period after his crime. After Charles Guiteau shot President James Garfield, Henry Donch was selected at one of the grand jury members in his trial.


Reuben Withers – drums

Reuben Withers was the younger brother of Ford’s Theatre orchestra director, William Withers. Reuben had joined the same regimental band as his brothers and father at the start of the Civil War, but similarly was sent back home when such bands were disbanded. He joined the ranks of his brother’s brass band and, it appears, the Ford’s Theatre orchestra.

In his older years, William Withers suffered from paralysis and was cared for by Reuben. The two elderly men shared a home and business together in the Bronx. Even in his paralysis, reporters came to hear the story of William Withers being stabbed by Booth on the night of Lincoln’s assassination. In at least interview, Reuben recounted his own remembrances of the night of April 14th:

“The President was a little late coming in. We had played the overture and the curtain was just going up when we saw him enter the stage box. Brother William immediately started us playing ‘Hail to the Cheif,’ then ‘Star-Spangled Banner,’ and there was a lot of cheering. Everybody was feeling good and happy…

After we had played the overture I left the theatre to catch the 9.20 train for Zanesville, O., and so I missed the actual scene of the great tragedy. I had been offered a better position to play in the band of Bailey’s circus, and I had fixed that night of April 14, 1865, as the time of my leaving Washington…”

Was Reuben Withers truly in the orchestra that night? After years of hearing his brother tell his tale, perhaps he just wanted to include himself in the narrative. Or perhaps he did tell the truth and left the theater before the crime occurred. We may never really know. Reuben Withers preceded his brother in death, dying in 1913. The house and business the Withers brothers owned still stands, albeit a bit modified, at 4433 White Plains Road in the Bronx.


Henry Steckelberg – cello

Henry Steckelberg was born in 1834 in Germany. He immigrated to the United States in 1858 residing at first in New York. When the Civil War broke out he, like the Witherses, joined a regimental band in New York. After returning to civilian life, Steckelberg made his way to Washington and can be found in the 1864 D.C. directory listed as “musician”.

When Steckelberg died in 1917, his obituary stated that, “On the night of Abraham Lincoln’s assassination he was playing at Ford’s Theater. The orchestra was having an intermission when the tragedy occurred.”

An additional piece of evidence comes from the Steckelberg family. The genesis for this entire post was an email from Steckelberg’s great granddaughter asking if a list of the orchestra members existed. She told me about her family’s belief that her great grandfather played that night and that the family still owns Steckelberg’s treasured cello that he, assumingly, used. In addition, she was kind enough to send along a letter, written by Henry Steckelberg’s sister-in-law which supplemented his obituary. The relevant part of the letter states:

“On the night of Lincoln’s assassination, he [Steckelberg] was playing in the regular orchestra in Ford’s Theater. The assassin was a regular hanger on around the theater and he (Booth) often played cards with the orchestra members in the rehearsal room below the orchestra pit. His presence in the theater caused no notice. Booth was unemployed at the time, very jealous of his successful brother. He had no personal animosity toward Lincoln but wished to do something to draw attention to himself.”

It’s hard to tell if the writer of this letter was using knowledge she had obtained from Steckelberg or merely adding her own embellishments and beliefs about the Lincoln assassination story to the basic Steckelberg obituary. The latter part of the paragraph is entirely opinion and the former contains one factual error: there was no rehearsal room “below the orchestra pit” at Ford’s Theatre as the pit was the lowest you could get.

While there isn’t much to go on regarding Henry Steckelberg, his obituary does recount that the orchestra was on break during (and therefore didn’t witness) Lincoln’s assassination which is in line with what Scipione Grillo testified to in 1867. It’s possible that Henry Steckelberg was there after all.


Isaac S. Bradley – violin

Isaac S. Bradley was born in 1840 in New York. During the Civil War, Bradley joined the Union army where he served as a bugler in the 10th New York Cavalry. Bradley was discharged from the service on November 20, 1865. By 1868 he had moved to Dayton, Ohio where he married and started a family. He lived in Dayton for the remainder of his days, becoming a photographer. Bradley died on July 10, 1904.

While I have yet to find any period documentation of Bradley’s presence at Ford’s Theatre during his lifetime, in 1960, his elderly daughter Clara Forster was interviewed by a newspaper in her home of Anderson, Indiana. She stated that during her father’s military service he, “fell victim to a rheumatic ailment that hospitalized him for some time in Washington,” and that he, “was ready to accept the offer to play in the orchestra at Ford’s Theater in Washington because he had with him his own Amati violin…”

With her father’s antique violin in her hand, Mrs. Forster then recounted the story her father had told her of that night:

“We were playing very softly when suddenly a messenger came and told us to play louder. We had heard a shot and someone running across the stage above, but we thought nothing of it.

So we played louder, not knowing of the tragedy that had occurred overhead; not knowing that our beloved Abe Lincoln had been shot.”

The article went on to state that “the order to play more loudly was given in an effort to offset commotion caused by the shooting and to avert panic in the audience.” It’s important to note that Mrs. Forster’s account is in contradiction to the testimony of Scipione Grillo who made it clear that the orchestra was not on duty during the assassination.

Mrs. Forster was very proud of her father’s heirloom violin and described it in detail:

“Mr. Bradley was second violinist in the orchestra, playing with four other young soldiers who had served in the Civil War…

[The violin] had been given to him when he was about 10 or 11 years old. It had been acquired by his grandfather from the Cremonesis family in Italy, reported to have taught the famed Antonius Stradivarius the art of producing priceless violins.

Mr. Bradley was told that the instrument purchased by his grandfather, who served in the Revolutionary War, was made in 1637. A certificate inside the violin bears that date and the name of the maker.

Mrs. Forster reports that her brother, the late Frank Bradley, had the violin in his possession for some time and about 1914 refused an offer of $20,000 for it. During the past few years, Mrs. Forster made her home in Milwaukee, where a concert violinist and teacher became interested in the Amati violin and wrote an article about it for a national music publication. One of the amazing facts was that its owner had carried it with him through much of the Civil War and that it had not been damaged.”

Mrs. Forster appears to be the only source that her father was in Washington and a member of the Ford’s Theatre orchestra that night. She was apparently quite convincing though, especially with her father’s violin as a witness. In the 1960s, when the National Park Service was preparing a historic structures report about Ford’s Theatre, Mrs. Forster wrote a letter to George Olszewski, the National Capital Region’s chief historian. Olszewski was convinced enough by Mrs. Forster’s letter that he included Isaac S. Bradley’s name in his partial list of orchestra members.


Salvadore Petrola – cornet

Salvadore Petrola, a native of Italy, came to the United States in 1855 when he was 20 years old. A talented cornet player, Petrola joined the U.S. Marine Band in September of 1861 and remained a member for the maximum time allowed, 30 years. As a band member in the 1880s, Petrola was the assistant conductor of the band, second only to its leader, John Philip Sousa. Petrola assisted Sousa in arranging music for the band and served as its primary cornet soloist for many years.

Despite a lengthy search, the only concrete evidence that I have been able to find to support the idea that Petrola was in the orchestra at Ford’s is the list of names John Birdsell, the secretary of the Musicians’ Protective Union, provided to the Rambler in 1925.

One additional fact could be taken as, perhaps, circumstantial evidence in favor of Petrola’s presence, however. The only instrumental solos contained on William Withers’ handwritten copy of his song, “Honor to Our Soldiers”, is for a cornet. In fact, the cornet gets three solos over the course of the song.

Is it possible that William Withers wrote so many solos for his cornet player because he was working with very talented, Salvadore Petrola? We’ll never know.


Joseph A. Arth – drums

Joseph Arth was the younger brother of Ford’s double bass player, George M. Arth. Like his brother and cousin, Chris Arth, Joseph was a member of the U.S. Marine Band. Like Salvadore Petrola, Joseph stayed in the Marine Band for 30 years.

Our only evidence for Joseph Arth’s presence at Ford’s Theatre comes from his wife’s obituary from 1940. Joseph married Henrietta Scala, the daughter of one time Marine Band leader, Francis Scala. Upon Henrietta’s death at 90 years of age, the newspapers highlighted that she was both the daughter and wife of noted Marine Band musicians. In referencing her husband, the obituary stated:

“She was the widow of Joseph A. Arth, drummer with the band during the same period. Files of The [Evening] Star report that Joseph Arth was the drummer in the pit at Ford’s Theater the night President Lincoln was assassinated.”

It’s not much to go on, but perhaps Joseph was playing alongside his older brother George in the Ford’s Theatre orchestra that fateful night.

A pair of drumsticks in the Ford’s Theatre collection. These are said to have been present on the night of Lincoln’s assassination. Could they have been used by Reuben Withers or Joseph Arth?


Paul S. Schneider – possibly violin or trumpet

Paul Schneider was born in Germany in 1844 and immigrated to the United States in 1861. During the Civil War he joined the Union army under the alias Ernst Gravenhorst. He served as a bugler for the 5th U.S. Artillery from January of 1863 until December of 1865. In the 1870s, Schneider moved to Memphis, Tennessee, initially working as a musician in the New Memphis Theatre before becoming a music teacher. In 1882/3, Schneider became the second director of the Christian Brothers Band, the oldest high school band still in existence. As director of the band, Schneider and his students performed at important events including playing for President Grover Cleveland in 1887 when he visited Tennessee. In 1892, Schneider was succeeded as director by one of his former students, but remained in Memphis and involved in the musical life of the city. He died in 1912.

I have been unable to determine the source of the claim that Paul Schneider was a part of the Ford’s Theatre orchestra on the night of Lincoln’s assassination. It appears to have come after his lifetime but is not well documented. In 2011, Patrick Bolton, the current leader of the Christian Brothers Band, published his doctoral thesis about the history of the band. The dissertation contains a large amount of information about each band leader and the growth of the band over time. While it gives a great biography of Paul Schneider, the information about his connection to Ford’s Theatre is limited:

“Schneider was also known for his skills as a violinist and performed in touring orchestras around the country, including one that performed in Ford’s Theatre in Washington, D.C. On the evening of April 14, 1865 he has been placed in this historic theatre performing Hail to the Chief for President Abraham Lincoln before the fateful performance of the play, ‘Our American Cousin.'”

Bolton was a good researcher, but it appears that even he had difficulty in finding evidence for this claim. His phrasing of “he has been placed” demonstrates a degree of uncertainty. Likewise, the best reference Bolton could find to support this idea was from a 1993 newspaper article about the Christian Brothers Band which merely mentioned that Schneider had been a member of the Ford’s Theatre orchestra without any supporting evidence.

Without additional, period evidence, I have some serious doubts that Paul Schneider was present at Ford’s. However, the idea that one of their band leaders was a part of such a historic event is a point of pride to the Christian Brothers Band. When the band traveled to Washington, D.C. in 2014, they even presented a picture of Professor Schneider to Ford’s Theatre.


Samuel Crossley – violin

Unfortunately, despite best efforts, I have been unable to find any verifiable information about Samuel Crossley aside from the story I am going to recount. In 1991, the National Park Service received a donation to the Ford’s Theatre collection in the form of this violin.

The violin was said to have been played at Ford’s Theatre on the night of Lincoln’s assassination. A label inside the violin identified its previous owner, a Union soldier by the name of Samuel Crossley.

On February 11, 2009, at the grand re-opening ceremony for the newly remodeled Ford’s Theatre museum, noted violinist Joshua Bell played the song, “My Lord, What a Morning” on the Crossley violin. In the audience were President Obama and First Lady Michelle Obama. Though I haven’t been able to find a recording of that performance, in videos of the President’s remarks, Bell can be seen in the background holding the Crossley violin.

More information about Samuel Crossley (and the provenance behind his violin) is needed.


Luke Hubbard – triangle and bells

Luke Hubbard was born in 1848 in Onondaga County, New York. In 1863, Hubbard attemptted to join the Union army but was rejected on account of being under the age limited (he was only 15 at the time). Not one to be deterred, Hubbard waited a year and then enlisted again, this time claiming he was 18 years old. Records verify that Hubbard served as a private in Company B of the 22nd New York Cavalry from July 1864 until he was discharged from service on October 18, 1865. Years later, Luke Hubbard claimed that an unexpected series of events during his tour of service caused him to not only be present at Ford’s Theatre on the night of Lincoln’s assassination, but an acting member of the orchestra.

The following comes from two sources, an account that Hubbard gave during his lifetime and his subsequent obituary.

“That fall [1864] I was taken ill with fever and removed to Carver hospital in Washington. After I recovered, instead of being returned to my regiment and probably largely because of my youth as well as being in a weakened state, I was given a position in the Carver hospital band. In the army I had been a bugler. This hospital band furnished the music at Ford’s theater on the memorable night. I was playing the triangles and sat at the end of the orchestra under the box occupied by the presidential party…”

“The actor, John Wilkes Booth, was well known by the president, and when he was not in the piece being presented or when Booth was off the stage for a time, or between acts, he would often call on President Lincoln in his box, when both would witness the performance together, or sit and chat in the most friendly manner, so that he had no trouble gaining access to the box on the night of the conspiracy.”

“Many people have claimed that Booth said this or that when he jumped to the stage from the box, but with thirteen pieces playing at the time. I don’t think he could have been heard had he uttered any remark…

In a moment Mrs. Lincoln appeared at the edge of the box, waved her handkerchief to the leader of the orchestra, who raised his bow, a signal for the music to cease. Mrs. Lincoln was then heard to say, ‘The president has been shot.’

The members of the orchestra meanwhile not understanding the scene before them, saw Booth drag himself across the stage holding in one hand the revolver which had done its fatal work, and in the other grasped a knife for use in case the other weapon failed. As the door at the rear of the stage opened, the orchestra members who sprang to the stage saw two pair of arms sieze [sic] the injured man, the last that was seen of him. When the door was reached it was found to be locked on the outside, and by the time they reached the street through another exit the theater was surrounded by a cordon of soldier, and they were obliged to give their names and business at the theater that night.”

“Mr. Hubbard was the third man to climb over the footlights and rush to the back of the stage, but the door was locked on the outside.”

Ironically, one of the most detailed accounts we have from a person who claimed to have been in the orchestra at Ford’s Theatre is also the least factual and least reliable. Very little of what Hubbard recounted is accurate. The orchestra was not playing when the shot rang out. Booth dropped the derringer pistol he used on Lincoln in the box and therefore did not have it on the stage with him. No one grabbed the injured Booth and pulled him out the rear door of Ford’s. The back door of Ford’s was not found to be locked from the outside after Booth passed through it. And perhaps the most egregious (and somewhat laughable) error of them all: John Wilkes Booth was not a friend of Lincoln’s nor did he often join the President in his theater box to “chat”.

As entertaining as it is, it’s probably safe to dismiss Hubbard’s account entirely. Still, it’s interesting that the instruments Hubbard claimed to have played that night, the triangle and bells, were two of the instruments William Withers asked permission to retrieve after the assassination.


The stage of Ford’s Theatre taken in the days after Lincoln’s assassination. The orchestra pit with music stands and sheet music still in place can be seen at the bottom of the image.

Compared with the stars who graced the stages of Victorian era theaters, the lives of theater orchestra members were without glamour or fame. While equally talented in their own specific roles, many of the men who provided crucial musical accompaniment led quiet and largely uncelebrated lives.

The names listed above are only possible members of the Ford’s Theatre orchestra, with some having much better evidence than others. We only know them because either they chose during their lifetime or their friends and family chose after death, to connect their names with one of the most notable events in our history. This desire to be remembered and connected to such important events leads some people to exaggerate or outright lie. On the reverse, however, it is possible that there were members who did not wish to have their whole musical careers boiled down to a single, traumatic night. How many orchestra members witnessed Lincoln’s assassination, but never talked about it publicly?

As time goes on, additional people who are claimed to have been in the Ford’s Theatre orchestra will no doubt be found. When that happens, we must judge the reliability of their evidence just like the names above. If you stumble across a new name, I encourage you to add a comment to this post so that others may evaluate the evidence.

The exact identities of those playing at Ford’s Theatre on April 14, 1865, will never be known for certainty. Just like in 1925 and 1962, we still do not have a reliable count of how many musicians were even there, and we likely never will.

Known and unknown, the orchestra members of Ford’s Theatre, under the direction of William Withers, have the distinction of having played the last music President Abraham Lincoln ever heard.

References:
The Theatrical Career of John T. Ford by John Ford Sollers (1962)
Backstage at the Lincoln Assassination by Tom Bogar
The Lincoln Financial Foundation Collection
The Lincoln Assassination: The Evidence edited by William Edwards and Edward Steers
The Trial of John H. Surratt, Vol 1
Catherine Adams – great granddaughter of Henry Steckelberg
Restoration of Ford’s Theatre – Historic Structures Report by George J. Olszewski
“The Oldest High School Band in America”: The Christian Brothers Band of Memphis, 1872-1947 by Patrick Joseph Bolton
Rich Smyth
The Art Loux Archive
Newspaper articles discovered via GenealogyBank
Most of the biographical information was compiled through the resources available on Ancestry and Fold3
Library of Congress, Prints and Photographs Division

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Grave Thursday: Jacob Rittersbach

Each week we are highlighting the final resting place of someone related to the Lincoln assassination story. It may be the grave of someone whose name looms large in assassination literature, like a conspirator, or the grave of one of the many minor characters who crossed paths with history. Welcome to Grave Thursday.


Jacob Rittersbach

jacob-rittersbach-grave-1

Burial Location: Hampton National Cemetery, Hampton, Virginia

Connection to the Lincoln assassination:

Jake Rittersbach was a French immigrant who came to the United States with his family when he was eight years old. His family settled in Pennsylvania and, after the Civil War broke out, 21 year-old Jake joined the 124th Pennsylvania Infantry. He served in the army for a period of 9 months before he was discharged. After leaving the service, Rittersbach found his way to Washington, D.C. where he sought out a way to make a living using his knowledge of carpentry. As he looked for a job, he took up residence at a boardinghouse owned by a Mrs. Scott on the corner of 7th and H streets in D.C. One of Rittersbach’s fellow boarders at Mrs. Scott’s home was another carpenter by the name of Edman Spangler.

Spangler made his living as a carpenter and a scene shifter at Ford’s Theatre. After about a year and a half in Washington, Jake Rittersbach found himself working side-by-side with Spangler when he too was hired by the Ford brothers to work as a carpenter in their theater in March of 1865.

It would have been impossible for Rittersbach, a Union veteran, not to have quickly picked up on the pro-Southern sentiments of his fellow coworkers at Ford’s Theatre. Many of the others engaged in backstage work supported the Confederacy and were mourning the recent events. Rittersbach often found himself quarreling with Spangler about their differing political views. Yet, they continued to do their work together, nonetheless.

Like the other employees of Ford’s Theatre, Jake Rittersbach was present backstage when John Wilkes Booth assassinated Abraham Lincoln on April 14, 1865. Rittersbach was situated right near Spangler on the stage left side (the side of the stage where the President’s box was located) when Booth fired the fatal shot. After Booth leapt to the stage and then made his way out the back door, both Spangler and Rittersbach followed in the direction of the commotion.

On the Stage 4 Frank Leslie's 5-20-1865

“That was John Booth!” declared Rittersbach. “Hush your mouth!” Spangler replied. “You don’t know whether it’s Booth or not.” In his reply, Spangler was speaking a likely truth. Rittersbach had been at Ford’s Theatre for such a short amount of time that he was not very familiar with John Wilkes Booth. It had only been earlier that day that Rittersbach had finally asked Spangler for the name of the actor he had seen around from time to time. Though Rittersbach ended up being correct in his identification of the assassin, in those hectic first moments, Spangler wanted only to protect a man he had known for years and worked alongside in the theater from being wrongfully accused. In the minutes after the assassination, Spangler grabbed his coat and exited out the same back door to search for John Wilkes Booth in hopes of proving this identification incorrect.

But, to Edman Spangler’s dismay, it was John Wilkes Booth who had shot Lincoln. This truth caused a lot of problems for the scene shifter who had known the Booth family since 1852 and who had done errands for John Wilkes, one of the few actors who treated stagehands with respect. Since the crime was committed at Ford’s Theatre and Spangler’s theatrical friendship was well known, Spangler was quickly identified as person of interest.

However, before Spangler found himself under arrest, Jake Rittersbach had already been laying the groundwork to incriminate him. Rittersbach spent the night of April 14-15 in the manager’s office of Ford’s Theatre. He was awakened in the morning by another stagehand named Louis Carland who was looking for Spangler. Rittersbach told his version of events to Carland but added that, upon claiming that it was John Booth who ran out the door, Spangler had slapped him in the mouth. Later, when back drop painter, James Lamb, reported to work, Rittersbach once again told him that Spangler had slapped him the night before. In the opinion of Tom Bogar, author of Backstage at the Lincoln Assassination, “Rittersbach appeared intent on making sure everyone knew what he had experienced, but was too new to Ford’s to perceive how each would receive the information.”

When Rittersbach left to take his breakfast at his boardinghouse on Saturday morning, he found Spangler there. After failing to find Booth, Spangler had spent the night at the home of two of the actors, John and Kate Evans. After a few minutes at breakfast, policemen arrived at Mrs. Scott’s and took both Spangler and Rittersbach in for questioning. Rittersbach was released quickly while Spangler had to endure almost four hours of questioning before he was released. After hearing rumors that Ford’s Theatre would be burned, Spangler, Rittersbach, Carland and some of the other employees decided to spend the night. On Sunday morning, Carland took Spangler to the home of the Gourlay family, a family of actors who had been in Our American Cousin on the 14th. Jeannie Gourlay was engaged to the Ford’s Theatre orchestra director, William Withers, and both had been near Booth’s path when he escaped. Carland asked Withers and Jeannie if either of them had seen Spangler slap Rittersbach as had been told to him. Though the couple had been nearby neither one claimed to have seen any sort of slap between the two men.

Spangler, however, seemed unaware that Rittersbach was making plans to implicate him. On Monday, Spangler took his supper at Mrs. Scott’s boardinghouse and found Rittersbach waiting in the doorway for him when he was leaving. He suggested the pair take a friendly walk. According to Bogar:

“[The walk] lasted about a half hour, the main topic of conversation being Rittersbach’s desire to get some of the reward money being offered. Did Spangler know of any information they could use? Rittersbach said that he, too, had given a statement at police headquarters on Saturday (although no evidence exists that he did). Spangler, as trusting as the animals he befriended seemed completely unaware that Rittersbach had already implicated him to others. Back at their boardinghouse around sunset, the two men parted ways (for good, as it turned out), and Spangler went upstairs to rest…”

Edman Spangler was arrested, for the final time, about two hours after his walk with Rittersbach. He was placed in irons and imprisoned in the Carroll annex of the Old Capitol Prison. Later, Spangler would be moved to the iron clad warships that housed Booth’s core group of conspirators.

spangler-manacled

If Rittersbach was hoping to get a piece of the reward money, it was in his best interest to continue to incriminate Spangler as an active party. Claiming that Spangler slapped him was a great way to cast suspicion. Perhaps Rittersbach hoped that, if Spangler was found to be an active conspirator in Booth’s plot, he would get some money out of his “assistance” to the authorities. It’s possible that Rittersbach had already laid the groundwork when he was briefly detained on Saturday. If this was Rittersbach’s plan, however, it seems that he changed his mind about it when he, himself was arrested. Jake Rittersbach was arrested one day after Spangler, Tuesday, April 18th. He was imprisoned in a communal room at the Old Capitol Prison and gave a brief statement. Despite the pains he had taken to inform others at Ford’s that he had identified Booth and that Spangler had apparently slapped him because of it, Rittersbach made no such claims in his statement. Rather, he told the prison superintendent that “he did not see [Booth’s] face and could not say who it was.”

So, we have this contradiction with Rittersbach. When the stakes were lower, Rittersbach told his fellow stagehands Carland and Lamb that he had identified Booth and that Spangler had slapped him. However, while under arrest, he denied having both recognized Booth and the slap. Perhaps protecting himself from any suspicion was worth more than trying to turn against Spangler. As the investigation continued and the authorities heard about Rittersbach’s prior statements to Carland and Lamb, they would take an active role to eliminate these contradictions.

A few years after the events, John T. Ford, who had also found himself locked up at the Old Capitol Prison, recounted an instance where significant pressure was put upon Rittersbach to re-implicate Spangler:

“Ritterspaugh [sic] – a witness- was brought before Colonel Lafayette C. Baker, at Baker’s office. Being questioned in regard to what happened on the stage, Ritterspaugh told that when Booth jumped from the box and ran across the stage, after firing the pistol, he (Ritterspaugh) said that that was Booth; and that Spangler turned and said: ‘Hush your mouth! You don’t know whether its Booth or not.’ Here Baker broke in on Ritterspaugh, saying: ‘By God, if you don’t testify to what you said to me before, I’ll put you among the rest, ‘ (meaning the prisoners.) ‘You said to me that Spangler, when you said ‘It’s Booth,’ said: ‘Don’t say which way he went.’

This bullying by Baker was perfectly calculated to shake Ritterspaugh’s nerves and cause him to think he believed he heard what he did not believe he heard.”

There may be some truth to Ford’s belief that Rittersbach was turned (perhaps rather easily based on his own actions before being arrested) against Spangler by the authorities. When Rittersbach was first put upon the stand by the prosecution at the trial of the conspirators on May 19th, he was not asked any questions about what happened at Ford’s Theatre on April 14th. Instead, the prosecution only used Rittersbach as witness regarding Spangler’s arrest and the government’s seizure of his belongings. It was not until May 30th that the prosecution recalled Rittersbach to the stand to testify about the events at Ford’s Theatre. In the trial transcript, right before Rittersbach is brought back, it gives the following statement:

“The Judge Advocate, stated that, since the examination of Jacob Ritterspaugh [sic] for the prosecution, facts had come to the knowledge of the Government not known at the time that witness was examined, and he proposed now to recall that witness for the purpose of examining him in relation to the accused, Edward [sic] Spangler; and he applied to the Commission for permission to re-examine that witness.”

In his new testimony, Rittersbach became the key witness against Spangler. He testified about Spangler having struck him after he identified Booth. Rittersbach also changed Spangler’s words, claiming that Spangler said, “Don’t say which way he went!” and “For God’s sake, shut up!” None of Rittersbach’s testimony was ever supported by Jeannie Gourlay who stood near Rittersbach and Spangler when the exchange was supposed to have occurred. In what may be the most telling piece of evidence of all, Rittersbach was released from prison on the very same day he gave his damning testimony.

While Spangler’s defense attorney, Thomas Ewing, did a noble job of poking holes in Rittersbach’s version of events, he could not completely undo the damage it had done to his client. Mainly due to Jacob Rittersbach, Edman Spangler was found guilty of aiding and abetting in John Wilkes Booth’s escape and was sentenced to 6 years of hard labor.

While Spangler was taken to Fort Jefferson in the Dry Tortugas to serve his prison sentence, Jake Rittersbach largely fell from view. John T. Ford invited most of his former workers to help him re-open Ford’s Theatre but that was prevented and the government purchased the building. Some of the stagehands found employment in Ford’s Holliday Street Theater in Baltimore but it is highly unlikely Rittersbach was ever offered a position given what he had done to Spangler.

Despite everything that had happened, Jacob Rittersbach stayed in D.C. for over 30 years working as a carpenter. After the death of his wife, Rittersbach moved to Ohio, where, in 1901, he finally tried to get some money from the government for the events of April 14, 1865. Rittersbach appealed to his Congressman, Representative Charles Grosvenor, not for any reward money for Spangler’s conviction, but for the loss of his tools that were stolen after the assassination:

rittersbachs-claim

Rep. Grosvenor was apparently unsuccessful in getting Rittersbach his reimbursement in 1901 as the Congressman introduced the same bill in 1903. It is unknown if the bill ever passed.

By 1913, Jake Rittersbach had returned to the east coast. On June 12th of that year, he was accepted into the National Home for Disabled Volunteer Soldiers located in Hampton, Virginia. He only stayed in the home for three months before asking to be discharged. He re-entered the home on April 5, 1914 and lived there for over four years before he was transferred to the National Home in Dayton, Ohio. He resided there until 1920 when he was transferred back to Hampton.

Jacob Rittersbach died at the Soldier’s Home in Hampton on June 28, 1926. While some of his former coworkers survived him, at 86, Rittersbach was the longest lived of those working at Ford’s Theatre on the night of Lincoln’s assassination. He was buried with a military stone in Hampton National Cemetery.

jacob-rittersbach-grave-2

GPS coordinates for Jacob Rittersbach’s grave: 37.018650, -76.334817

Most of the information in this post came from Thomas Bogar’s wonderful book, Backstage at the Lincoln Assassination: The Untold Story of the Actor’s and Stagehands at Ford’s Theatre. Please pick up a copy today to learn more about the many people who were working at Ford’s Theatre when their lives, and our history, changed forever.

backstage-at-the-lincoln-assassination-by-thomas-bogar

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