1 100 14 https://digital.lib.buffalo.edu/files/original/63f46ac053afe30794a07e58b1447937.jpg 9b1663849a18ad2cd3106e301e567bae Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Description An account of the resource Color-coded exhibition site map with central buildings, gardens, fountains, and a large lake at the bottom. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context LIB-005_0058 Is Part Of A related resource in which the described resource is physically or logically included. LIB-005 Pan-American Exposition of 1901. LIB-005 Type The nature or genre of the resource Image Blueprints, Technical illustrations, Bird's-eye views Title A name given to the resource Plan of the Pan-American Exposition Creator An entity primarily responsible for making the resource Peltz, C. E. Date A point or period of time associated with an event in the lifecycle of the resource 1901-01-01 Source A related resource from which the described resource is derived Source: From the collection of the University Archives, University at Buffalo Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Buffalo (N.Y.) Description An account of the resource On Exposition grounds map of Pan-American Exposition grounds A color-coded map showing the layout of an exhibition site. The design includes large central buildings, surrounding gardens, waterways, and fountains. A large lake occupies the lower section of the map, with pathways and landscaped areas connecting various exhibition halls and open spaces. Subject The topic of the resource Buffalo(N.Y.)--Exhibitions Buffalo (N.Y.)--History--20th century-- Pictorial works Exhibition buildings--New York (State)--Buffalo Pan-American Exposition--(1901:Buffalo, N.Y.)--Pictorial works Pan-American Exposition--(1901:Buffalo, N.Y.) --Views Pan-American Exposition (1901 : Buffalo, N.Y.) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. Format The file format, physical medium, or dimensions of the resource image/jpeg Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Exposition Maps Pan-Am Exposition https://digital.lib.buffalo.edu/files/original/2fc3e3d2e4d1994d858603a1ae6fb05a.pdf e3cf2608bf0cdc29d2480a4f2b9d0be8 PDF Text Text James B. Parker Revisited Daryl Rasuli Souls that are not at peace often bring turmoil to the living. For the last year, the spirit of one James B. Parker has possessed me. It happened easy enough. One day, a friend of mine mentioned he had read that an African American knocked the assassin of President McKinley down to the ground after he shot the president twice at the Pan-American Exposition in Buffalo in 1901. I was intrigued that this fact was unknown to me and so many other people in Buffalo. So, after a cursory review on the Internet, I found it was true. Now, this is where the spirit part came in. It seemed that I could not rest once I knew that James B. Parker did exist. Plus, with the celebration of the centennial of the Pan American Exposition at hand, there was more incentive to do the research and to bring Parker's story to the forefront. The search led me to a greater understanding of a period of history that, generally, I have over looked. The time was between two great James Benjamin Parker1 wars, the Civil War that ended in 1865 and 1914 the beginning of World War I. A time no more than 50 years in length, but for African Americans very critical years. During this short span of time, two of the most dynamic African American leaders Booker T. Washington and W. E. B. DuBois each on opposite sides of the political spectrum emerged. It was not a joyful period for African Americans between 1890 and 1910, as 2600 Black men were lynched. In 1898, Ida B. Wells led a delegation to President William McKinley to protest lynching. In 1901, Congressman George White would be the last African American to serve in congress until 1928. African Americans would see legal segregation come into full force. Imagine struggling with the forces that African Americans found in this environment at the turn of the century. These forces were all brought to bear on James Parker as he stood in line to shake President McKinley's hand. Why did he want to in the first place? He was a waiter working at the exposition, not a spectator, slowly viewing the exhibits and reveling in the wonders of the exposition. There was Parker, standing in line waiting to shake the hand of the president of the United States when all hell broke loose. The tragic event quickly unfolded, according to a Secret Service Agent's story in a Buffalo newspaper article. He said, �"[I was watching] this man who appeared to be an Italian, who had a short cropped heavy black moustache, he was persistent and it was necessary for me to push him along so that the others could reach the President." "Just as he released the President's hand, and as the President was reaching for the hand of the assassin, there were two quick shots. Startled for a moment, I looked and saw the President draw his right hand under his coat straighten up and, pressing his lips together, giving Leon Czolgosz the most scornful and contemptuously look possible to imagine." "At the same time I reached for the young man and caught his left arm. The big Negro standing in back of him and would have been next to take the presidents hand struck the assassin in the neck with one hand and with the other reached for the revolver which had been discharged through the handkerchief and the shots had set fire to the linen." "Immediately a dozen men fell upon the assassin and was borne on the floor. While on the floor Czolgosz again tried to discharge the revolver but before he got to the president the Negro knocked it from his hand. As it went across the floor, one of the artillerymen picked it up and put it in his pocket." By all witnesses, James B. Parker was a big man. He was often described as being about 6 ft. 6 inches tall and weighing 250 pounds. In a Buffalo Times Sept. 12 article, he is described as a plain, modest, gentlemanly person. In 1901, he was 44 years old born on July 31, 1857 in Atlanta, Georgia. Educated in Atlanta schools, he also traveled as far north as Philadelphia, but returned south to live in Savanna. According to the Atlanta Constitution, he was well known in Savannah and at one time was a Constable for a Negro magistrate. The article also said he had the reputation of never returning an unserved warrant. The citizens of the East Side of Savannah also knew that he was man of few words and a command to submit to arrest was always quietly obeyed. He traveled to Chicago and worked as waiter in the Pullman Car organization. He returned to Atlanta in 1895 but for the last five years lived in the north. Prior to coming to Buffalo, he was in Saratoga, New York and came to Buffalo only days before the assassination to work at the Exposition for the Bailey Catering Company. He took that job until a position opened as a "traveling agent" for the Gazetteer and Guide; a magazine for African Americans published in Buffalo by James Ross. At one time he had been a newspaperman working for the Southern Recorder. Another witness in an article written later in the Los Angeles Times by George Reasons and Sam Patrick saw the incident a little differently: "A gigantic negro waiter from the Plaza had been standing behind Czolgosz awaiting an opportunity in joyous expectation to shake the president's hand. He stood there, 6 feet 4 inches tall with 250 pounds of muscular enthusiasm, grinning happily until he heard the pistol shoot. With one quick shift of his clenched fist, he knocked the pistol from the assassin's hand. With another, he spun the man around like a top and with a third, he broke Czolgosz's nose. A fourth split the assassin's lip and knocked out several teeth." In the Sunday 8, 1901 Atlanta Constitution in article entitled "Staggering From Bullet He Was Calm" with a sub-head reading, "Story of the Shooting Told By Eyewitness", reported the statement of the eyewitness, "I saw the flash followed by the report and then heard the second shot. Instantly, James Parker, the colored man and Secret Service Agent Foster were upon Czolgosz and they bore him to the floor." �Another in the Buffalo Times September 10, 1901, report came from two Syracuse women, Mollie A. Jacquin and Miss Elizabeth Mahley tell of the shooting this way: "The first man to take hold of Czolgosz was the Negro Parker. He pushed his way through the crown and struck the man several times. The Negro seemed infuriated and I believe he would have killed Czolgosz it he would not have been taken away." Parker's own remembrance of the event as told to a reporter from the Times began: "I heard the shots. I did what every citizen of this country should have done. I am told that I broke his nose—I wish it had been his neck. I am sorry I did not see him four seconds before. I don's say that I would have thrown myself before the bullets. But I do say that the life of the head of this country is worth more than that of an ordinary citizen and I should have caught the bullets in my body rather than the President should get them. I can't tell you what I would have done and I don't like to have it understood that I want to talk of the matter. I tried to do my duty. That's all any man can do." Parker said, "I went to the Temple of Music to hear what speeches might be made. I got in line and saw the President. I turned to go away as soon as I learned that there was to be only a handshaking. The crowd was so thick that I could not leave. I was startled by the shots. My fist shot out and I hit the man on the nose and fell upon him, grasping him about the throat. I believe that if he had not been suffering pain he would have shot again. I know that his revolver was close to my head. I did not think about that then though. Then came Mr. Foster, Mr. Ireland and Mr. Gallagher. There was that marine, too. I struck the man, threw up his arm and then went for his throat. It all happened so quickly I can hardly say what happen, except that the secret service man came right up. Czolgosz is very strong. I am glad that I am a strong man also or perhaps the result might not have been what it was." "I am a Negro, and am glad that the Ethiopian race has what ever credit comes with what I did. If I did anything, the colored people should get the credit." After the Assassination There is no newspaper record of what Parker did immediately following the shooting. But according to a September 10, 1901, news article, Parker appeared in the Pan American Exposition Mall, near the west gate, after the incident. A group of people surrounded him and he was asked to sell pieces of his waistcoat and other clothing. He recounted the story of the assassination and sold one button off his coat for $1.00. In the time between the shooting and McKinley's death, Parker had numerous offers to work on the Midway at the Exposition recounting his participation. One company wanted to sell his photograph, but he refused. In a quote in the Buffalo Commercial, dated Sept. 13, 1901, Parker said, "I happened to be in a position where I could aid in the capture of the man. I do not think that the American people would like me to make capital out of the unfortunate circumstances. I am no freak anyway. I do not want to be exhibited in all kinds of shows. I am glad that I was able to be of service to the country." �Meanwhile, a Buffalo Enquirer article on September 10, recounted Detective Foster's report to the Secret Service headquarters in Washington stating that, " A Negro hit his [Czolgosz's] arm up": thereby, missing his third shot at the president. News of the part Parker played in this national drama quickly spread. The Atlanta Constitution had a story in the September 10, edition with the headline " Testimonial to Jim Parker." The article related how the Negros of Savannah were planning to set up some type substantial testimonial for James Parker. The Constitution said that he was well known in the city but he had not been there for several years. On September 13 in the same newspaper an article entitled "Negros Applaud Parker" with the sub-heading "Mass Meeting in Charleston Hears Booker Washington." On September 12, to a mass meeting of 5,000 African Americans, Booker T. Washington delivered an address and resolution denouncing the reckless deed of the "red handed anarchist" and rejoicing that a southern Negro "had saved the President McKinley from death." According to the Buffalo Courier, the Buffalo Club had requested that Parker speak there and the "Order of Don't Knock" considered admitting him to the group because of his brave actions with regard to the shooting of President McKinley. In Syracuse a benefit was given in his honor at Grand Opera House with standing room only crowds. President McKinley died on September 14, at approximately 8 o'clock that night. His last words were reported to be "Good bye all; goodbye. It's God's way. His will be done." On September 15, Parker was one of the thousands of people who paid their respects when the President's casket was displayed at the Buffalo City Hall. It was said that he simply bowed his head and walked on. The Trial Prior to the trial, which began September 23, 1901, Parker was considered a major character in the assassination. However, trial itself clouded Parker's participation in the events of September 6, 1901. Not only was Parker not asked to testify, but those who did testify never identified Parker as the person who took the assassin down. While he had quickly became a hero to the American people, Parker's stature unraveled just as quickly. In a September 13, article about Parker in the Buffalo Express, Mr. James Quackenbush, an attorney, stated that he had been standing six feet from the President. He said that he was looking to the right of President at the time the first shot was fired and looked to Czolgosz at the sound of the second shot. Quackenbush stated that he saw Mr. Gallagher, Mr. Ireland (both Secret Service men), Private O' Brian and the other men from the 73rd Seacoast Artillery, lunge forward toward Czolgosz who then went down. He also stated that he saw no one else seize upon Czoglosz except the Secret Service men and the artillerymen. At the trail, Mr. Foster, the same Secret Service Agent who had earlier stated to have written a report that included the participation of a Negro in the capture of Czoglosz, denied that any Negro had been part of that capture. �During cross-examination by Mr. Titus he was asked," Did you see this colored man?" Foster: "What colored man?" Titus: "Parker?" Foster: "I noticed a colored man in the line, but it seems to me he was in front of this man." Titus: "Instead of behind him?" Foster: "Instead of behind him. I never saw no colored man in the whole fracas." John Branch, an African American porter in the Temple of Music and eyewitness to the shooting according to the record, did testify. He wasn't asked, if he saw any person of color in the event, but in the same vein, he did not mention there Both the Buffalo Courier and the Commercial newspapers, responded in an indirect fashion to the controversy by stating that the evidence brought out at the trial proved that Parker had nothing to with the capture of Czolgosz. In addition, they accused Parker lecturing and receiving money for the "Parker Fund" under false pretenses. The African American community was outraged because of Parker not testifying at the trial. It appeared to many that the Secret Service and the military were embarrassed that this man essentially brought the assassin down instead of them. Parker was asked to comment about not testifying. He said, " I don't say it was done with any intent to defraud, but it looks mighty funny, that's all." The African American community held a ceremony to honor James Parker for his part in capturing Czolgosz and to inquire as to why Parker was not recognized as a participant in the assassin's arrest. The gathering was held at the Vine Street African Methodist Church on September 27, 1901. The church was packed and the general feeling, according to the Buffalo News, was that the audience was incensed that no credit or recognition was given to Parker. The meeting was called to order by the Reverend E. A. Johnson, pastor of the church. Former pastor Reverend J. C. Aylmer led a hymn and gave a prayer. The discussion that followed resulted in the formation of a committee to inquire into the merits of Parker's case. The committee members were Rev. J. E. Nash, pastor of Michigan Baptist Church, Rev. J. C. Ayler, M. H. Lucas, W. Q. H. Aikens and J. W. Peterson. While the committee went into private discussion, Parker's fellow named Shaw delivered a short testimonial on Parker. He said, "When I first entered this hall, it was my intention to go quietly way back and sit down…. Yesterday…. I … feel the inspiration of defense arise within me. The evident attempt to discredit Parker is a sign of conspiracy and should we fail to emphatically resent it, I claim we are a disgrace to our race. " When Jim Parker entered the hall, he refused all demands to make a speech and sat down amidst cheers. The committee entered and read their position on the matter. "Whereas, there is a conflict of statements between the Associated Press and the Supreme Court of New York with respect or disrespect to the heroic act of James Parker in having thwarted the purpose of Leon Czolgosz in inflicting immediate death of our William McKinley. Whereas, we, the colored citizens of the City of Buffalo, N.Y. in this mass meeting assembled, that they very much regret the clash of statement in respect to the reported act of heroism on the part of James Parker, in that the Associated Press as a molder of public sentiment and as a herald of accepted facts…. Reported said heroic act both �in America and Europe, and that the Supreme Court, the arbiter of justice …. Entirely eliminated said James B. Parker from the part he is reported by the press to have played in this tragedy." Information about James Parker's life after the trial has not been forthcoming. My goal in this endeavor was to somehow connect Parker to the present. I was hoping to find the lead that would allow me to trace his family to the present. Perhaps, I can still accomplish this if his story makes people more aware of his importance or non importance in American history. Despite this search, the "truth" is still not clear. In conclusion, this little history of the stereotypical "invisible man" has reinforced my opinion that the "victorious" write history. While it is important for Black and White Americans to know that an African American had played such a brief but pivotal role in history of this country, that importance may be attributed to different reasons. For African Americans, Parker's story illustrates that African Americans were active participants in the events of United States history, despite America's reluctance to declare that fact. For white America, Parker's actions and the subsequent erasure or exposure of his deeds or misdeeds show how truth can be manipulated. The spirit of James B. Parker still visits me because my job is only partly finished. Hopefully, the future will reveal more about this man and the actions of September 6, 1901 and beyond. Then perhaps, his spirit can rest. Note 1. This photograph of James Parker appeared in the Buffalo Times, September 15, 1901, with the following caption: "James Benjamin Parker, The Negro Who Struck Down Leon Czolgosz, the Assassin of President McKinley, and Thus Became Famous in a Single Day." W. Cotter, photographer. © 2001 Daryl Rasuli � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource James B. Parker Revisited Description An account of the resource James B. Parker's role in the immediate aftermath of the William McKinley's assassination. Creator An entity primarily responsible for making the resource Rasuli, Daryl Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Rasuli, Daryl Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context james-b-parker-revisited Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Exhibitions--New York (State)--Buffalo ParkerJames B.1857-1907 McKinleyWilliam1843-1901--Assassination CzolgoszLeon F.1873-1901 Pan-American Exposition (1901 : Buffalo, N.Y.) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/f4b77fa7fd3f52da977f1b95a68daa79.pdf c6f6ce22ea45bc751529a9a8a42261bb PDF Text Text Introduction: Niagara Falls and Electricity Jack Foran Ironies abound. The theme image of the Pan-American Exposition was light-specifically, electrical light--referring to Buffalo's proximity to Niagara Falls, and consequent potential to exploit the almost limitless electrical energy of the Falls. The first-time-ever large-scale development of this new energy type had occurred at the Falls five years prior to the Pan-Am. But the development of electricity at Niagara Falls was about electricity for industrial power, not light. Electricity for light was already in wide-scale use at the time. The Edison Company had the corner on market. Edison supplied most of the electrical lighting in use at the time, and held the key patents that applied to electrical lighting production and manufactures. To justify the huge and extremely costly project of harnessing the natural wonder of Niagara Falls for electricity required, first of all, identifying a market for the vast amount of electrical power that would be produced. The market was to be Buffalo industry. But then there needed to be a method to transmit the power from the Falls to Buffalo, a distance of 25 miles. This required development of alternating current The Electric Tower Illuminated. Photo credit: n/a. Source: Kerry S. Grant. The Rainbow City: Celebrating Light Color and Architecture at the Pan-American Exposition, Buffalo 1901. Buffalo, N.Y.: Canisius College Press. From the collection of the Buffallo History Museum (AC). It was impossible to transmit direct current (DC), the form of electricity then mostly in use, more than about a mile. Edison's lighting industry used DC, which was supplied from numerous "central stations," each serving about a one-square mile area. The development of the AC system was the work of the genius Nicola Tesla, working for George Westinghouse, Edison's great rival in the electrical industry. Tesla had previously worked for Edison, who found him an extremely useful hire. In New York City, he bailed Edison out of one engineering difficulty after another. But Edison had no interest in Tesla's life-long real interest--AC--and provided little encouragement or incentive for Tesla to work on this pet project. (Nor, for that matter, did the Wizard of Menlo Park see much potential for the use of electricity for industrial power. Power for industry was and would always be adequately supplied, Edison must have thought, by the still fairly new technology of the steam engine.) Portrait of Nicola Tesla. Photo Credit: undetermined. Source: T. Commerford Martin and Stephen Leidy Coles, eds. The Story of Electricity. New York: The Story of Electricity Company, 1919? Tesla didn't invent AC electricity or the transformer--the theoretically simple device that could boost the voltage of AC, making it economical for transmission (by Ohm's law, E = IR, according to which raising the voltage, E, reduces, relatively, amperage, I, and resistance, R, which is where losses occur). Tesla's great �contribution was the development of the AC motor, completing the loop, making AC electricity a feasible industrial commodity. The final irony was on the order of the "build it and they will come" thesis of the baseball movie. They harnessed the falls and immediately major industries--most notably the fledgling Pittsburgh Reduction Company, which later became Aluminum Company of America, then a number of chemical companies--moved to Niagara Falls to buy and use the power. It wasn't for several years, after expansion of the original generating capacity, that they began selling substantial amounts of electricity to the Buffalo market. Chemical companies and other industries occupying the lands of the Niagara Falls Power Company. This map shows the area upriver of the actual falls. © 2001 Text - Jack Foran (Note: Images and captions added by web site editor--ed.) Jack Foran is a freelance writer and editor in Buffalo. He was formerly a technical writer and editor for several area environmental consultant firms, and a reporter with several newspapers. He is currently working on a book on Western New York decisive historical moments. For more information on the development of electrical power systems at Niagara Falls, please link to Jack Foran's "The Day They Turned The Falls On : The Invention Of The Universal Electrical Power Systems" � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Introduction: Niagara Falls and electricity Subject The topic of the resource Exhibitions--New York (State)--Buffalo Electricity--History Electric power--New York (State)--Niagara Falls--History Pan-American Exposition (1901 : Buffalo, N.Y.) Description An account of the resource A brief history of Niagara Falls and electricity at the Pan-American Exposition of 1901 Creator An entity primarily responsible for making the resource Foran, Jack Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Foran, Jack Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context introduction-niagara-falls-and-electricity Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/5ca0f71550ced7a98ac9ba9867531efb.pdf dd51f8b9ecf19819a14fe8f434407ef1 PDF Text Text C. D. Arnold, Photographer of the Pan-American Exposition John M. Bewley Residents of a later age, we have in Arnold's pictures the means to reconstruct the dreams of a previous era, one that is both alien and familiar to us. 1 Charles Dudley Arnold was 56 years of age when he was selected to be the official photographer for the Pan-American Exposition in Buffalo. By that time in his career Arnold had accumulated more than 20 years as a professional photographer specializing in images of architecture. He had published two books of architectural photographs and won the favorable attention and praise of architects who were coming to rely upon such work for their studies. Arnold also served as the official photographer for the World's Columbian Exposition in Chicago in 1893, documenting the project from the initiation of its construction in 1891. The first exposure many people have to the sights of both the Columbian and Pan-American Expositions comes through the images of C. D. Arnold. Arnold was born in Port Stanley, Ontario March 19, 1844 and moved to Buffalo, New York by the time he was twenty. He was first introduced to photography while working as a traveling salesman when a colleague Charles D. Arnold. "Official Photographer of the Pan-American Exposition". Photo credit: Gilbert, New York. Source: The [Buffalo] Illustrated Express, August 1899. demonstrated a new camera to him. By the 1880s Arnold had taken up photography professionally and had already chosen to specialize in architectural photography. He left for Europe where he traveled the countrysides of England and France with a dog and a cart, taking photographs of local structures. These images provided a unique source of study for architects in Europe and the United States. Arnold returned to Buffalo after his work abroad. He maintained a residence in the city until his death in 1927. C. D. Arnold's first book of photographs, Studies in Architecture at Home and Abroad, was published in New York in 1888. His work was well received. During the years 1885-1891 Arnold worked in New York City where he was listed as a photographer in city directories. The success of his work resulted in a contract to become the official �photographer for the Columbian Exposition in Chicago. He relocated to Chicago in 1891 and began work documenting the construction of the Exposition that same year. Examples of this phase of Arnold's work can be seen in Peter B. Hales' insightful book, Constructing the Fair: Platinum Photographs by C. D. Arnold of the World's Columbian Exposition (Chicago, Ill.: Art Institute of Chicago, 1993.) Hales points out the significance that Arnold's images had, not only for documenting the Exposition's beginnings, but also, through the extraordinarily wide distribution of Arnold's images in many formats, in successfully propagating the ideals embodied by the Exposition. Acting as a documentary photographer, Arnold hid most traces of his own artistic persona from the images he shot. His documentary images become historical artifacts rather than a photographer's personal, artistic statement. Peter B. Hales writes of this aspect of Arnold's work, saying: In reproduced form ... Arnold's name seemed less important than the fact that the pictures were official presentations of the official elite. In fact, the more successful the pictures were, the more they seemed to exist on their own, witnesses to grandeur, sublimity, and civility, rather than active creations of it. Their very success lay in Arnold's ability to make them seem mute, even transparent windows onto the real objects of culture: buildings, spaces, landscapes, utopias. 2 Due to conflict with the board of the Columbian Exposition, Arnold was replaced as official photographer before the concluding images of the Exposition were shot. William Henry Jackson, a successful landscape photographer, was hired to make the final photographs that would constitute the official visual history of the Exposition. Even without these final photographs, Daniel H. Burnham, Director of Works of the Exposition, reported that Arnold and his crew of assistants had made approximately 15,000 negatives of the Exposition C. D. Arnold continued his work as architectural photographer through the remainder of the 1890s, producing another book of photographs in 1896, Country Architecture in France and England XV. And XVI. Centuries (from negatives by C. D. Arnold, H. D. Higinbotham and E. A. Stewardson. Buffalo, N.Y.: C. D. Arnold, 1896). Many of the images of French sites were later reproduced in 1924 in French Farm Houses, Small Chateaux and Country Churches in France (by Antonio Di Nardo, with a preface by Paul P. Crét, photographs by C. D. Arnold and A. Di Nardo. Cleveland, Ohio: J. H. Jansen, 1924). The examples from this period demonstrate the quality of Arnold's work "The Chancel, Lockington Church, Leicestershire". Source: Country Architecture in France and England XV. And XVI. Centuries (from negatives by C. D. Arnold, H. D. Higinbotham and E. A. Stewardson. Buffalo, N.Y.: C. D. Arnold, 1896). Photo credit: C.D. and the nature of his architectural photographs outside the realm of exposition documentation. They can still be said to be documentary in nature, but they also clearly impart more of Arnold's artistic personality than the Exposition photographs. This is especially notable in his use of local people in many of the images. �Much of what Peter B. Hales writes about Arnold's work and its role in spreading the message of the Columbian Exposition applies equally well to Arnold's work in Buffalo. Arnold's work at the Pan-American Exposition, as it did at the Columbian Exposition, included having a concessionaire's license. He had a studio on the Exposition grounds from which he sold souvenir copies of his images. C. D. Arnold's studio at the Pan-American Exposition The range of Arnold's work is impressive. He shot everything from the beginning to the end of the Exposition, including preparation of the grounds, construction, sculpture studios as work was being prepared, finished sculpture before and after it was installed, and interiors and exteriors of finished buildings. Of course, one of the most important elements of the Pan-American Exposition was its use of lighting to illuminate the grounds at night. These images must have presented Arnold with several technological challenges, but they are stunning for their clarity. Several of the images Arnold shot of the Pan-American Exposition have become icons: the Electric Tower, the Temple of Music, the Ethnology Building. But there are other, less well-known shots, that are equally impressive and show slightly different sides of Arnold's talent. "The Electric Tower". Photo credit: C.D. Arnold. Source: C. D. Arnold. The Pan­ American Exposition Illustrated. Buffalo, N.Y.: C. D. Arnold, 1901. p.3. �Portraits are rare among the most commonly distributed images of Arnold's work, but he chose to include his portrait of Chief Little Wound in his collection, The Pan-American Exposition Illustrated. It is a striking and serious portrait that grants a level of respect to a Native American not necessarily demonstrated elsewhere in the Exposition. A colonnade connecting the Machinery Building and the Temple of Music and a scene in the garden of Fair Japan provided Arnold more opportunities to display his talent for composition. Garden Scene in "Fair Japan". Photo credit: C.D. Arnold. Source: C. D. Arnold. The Pan-American Exposition Illustrated. Buffalo, N.Y.: C. D. Arnold, 1901. p.102. Colonnade. Connecting the Machinery Building and the Temple of Music. Photo credit: C.D. Arnold. Source: C. D. Arnold. The Pan-American Exposition Illustrated. Buffalo, N.Y.: C. D. Arnold, 1901. p.31. �Many of Arnold's photographs of the Exposition contain such a high degree of detail that it is only possible to see all of it once the image has been enlarged. Scanning the images enables us to reveal much of this detail, sometimes with unexpected results. The following images demonstrate the rewards gained from examining enlargements of the images. Each image contains details that have been linked to a related enlargement; click on these "hot spots" (found by passing the cursor over the image until the cursor becomes a hand) to see the enlargements. Interior of the Horticulture Building. Photo credit: C.D. Arnold. Source: C. D. Arnold. The Pan-American Exposition Illustrated. Buffalo, N.Y.: C. D. Arnold, 1901. p.5. Arnold's photograph of the interior of the Horticulture Building contains many details easily missed by the casual observer: the "Hands Off" sign on the fruit stand to the right, the security guard to the rear of the image, and the sculpture that is suspended high among the ferns are three that are notable. �Interior of the Electricity Building. Photo credit: C.D. Arnold. Source: C. D. Arnold. The Pan-American Exposition Illustrated. Buffalo, N.Y.: C. D. Arnold, 1901. p.39. The photograph of the interior of the Electricity Building also contains interesting details: the displays themselves, the man seated at the controls to the left, the signs of the exhibits, like that for a "Chloride Accumulator", and the "ghost" figures that appear due to the amount of time the lens had to be open to capture the image in the interior lighting. Construction of the Midway Entrances. Photo credit: C.D. Arnold. Source: Thomas E. Leary and Elizabeth C. Sholes. Buffalo's Pan­ American Exposition. Charleston, SC : Arcadia Publishing, 1998. p.23. Image from the collection of the Buffalo and Erie Country Historical Society. A third example can be seen in the photograph Arnold took during the construction of the Midway entrances. It is possible to see how the staff sheathing was being applied to the columns. More memorable is the figure at the left of the group of workers. Unless mistaken, he is thumbing his nose at the camera. �The entire contents of C. D. Arnold's book, The Pan-American Exposition Illustrated (Buffalo, N.Y.: C. D. Arnold, 1901) have been digitized and are available for online viewing. The individual images vary in size, but most have a file size around 150K. References: • 1. Hales, Peter B. Constructing the Fair: Platinum Photographs by C. D. Arnold of the World's Columbian Exposition. Chicago, Ill.: Art Institute of Chicago, 1993. p. 48. • 2. Ibid., p. 40. A chronology and more details about the life of C. D. Arnold are available at the Web site, Charles Dudley Arnold, Photographer, 1844-1927: Official Photographer Chicago Columbian Exposition, Pan-American Expositon © 2001 John M. Bewley John M. Bewley is a music librarian and the music archivist at the University at Buffalo, The State Univeristy of New York. He is also the curator of the Music and Musicians at the Pan-American Exposition section of this online exhibit. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource C. D. Arnold, Photographer of the Pan-American Exposition Description An account of the resource Examination of C. D. Arnold, Photographer of the Pan-American Exposition of 1901. Creator An entity primarily responsible for making the resource Bewley, John M. Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Bewley, John M. Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Image Identifier An unambiguous reference to the resource within a given context c-d-arnold-photographer-of-the-pan-american-exposition Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Photographers--New York (State)--Buffalo Exhibitions--New York (State)--Buffalo Buffalo (N.Y.)--Description and travel--Views ArnoldC. D. (Charles Dudley)1844-1927 Pan-American Exposition (1901 : Buffalo, N.Y.) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/f3f7761e03a945f90a09f36b3d2789cd.pdf 4729bf80586886d5fad62c992c80b1f4 PDF Text Text Buffalo Architecture at the Time of the Pan-American Exposition Jack Quinan The genius of Buffalo's architecture began with the plan that Joseph Ellicott created in 1804 [Fig. 1] for the Holland Land Company, a radial configuration that began at Niagara Square and fanned out eastward in a perfect metaphor for the city's eventual identity as a center for the trans-shipment and processing of goods-especially grain, lumber, beef, and ore- from the western United States to eastern markets. Aided by the completion of the Erie Canal in 1825 and subsequently by dense railroad lines, Buffalo quickly grew from a village into a city of nearly 400,000 inhabitants. As new businesses swelled the population, industry expanded south and eastward, often following waterways like the Buffalo and Niagara rivers, while neighborhoods moved largely northward. In 1868 William Dorsheimer, a Buffalo-based Lieutenant Governor of New York, persuaded community leaders to bring Frederick Law Olmsted to create a park system for the city. Broadly conceived, Olmsted's parks [Fig. 2] describe an arc that perfectly accommodated the new radial trolley systems and the Belt-Line railroad that would bring the population to and beyond the outer edges of the city. This was the framework into which the architecture of Buffalo would be accommodated. What was Buffalo like in the years immediately preceding the Pan American Exposition? Vintage photographs [Fig. 3] remind us that downtown was dense and bustling, the center of everything in the Fig. 1. "Ellicott's Plan for Buffalo, 1804" Source: Francis Kowsky. The Best Planned City The Olmsted Legacy in Buffalo. Buffalo, N.Y., 1992, Fig. 2. days before the automobile. Among the hundreds of buildings comprising Buffalo's downtown circa 1900, those forming Shelton Square [Fig. 4a, Shelton Square] were especially distinguished. St. Paul's Episcopal Cathedral (1849-51, 1870-71) by Richard Upjohn, Americas's prominent Gothic Revivalist, stands immediately across Pearl Street from Louis Sullivan's Guaranty Building (1895-1896) [Fig. 4b] a masterpiece of Chicago School rationalism, while George Post's Erie Savings Bank (1893-5), a clever variation on H. H. Richardson's Romanesque, occupied the site subsequently given over to the unfortunate Main Place Mall and tower. With the demolition of Post's bank an outstanding Nineteenth century enclave was lost. Less than 200 feet �east of St. Paul's, just across Main Street, stands Daniel Burnham's Ellicott Square Building (1895-6) [Fig. 5], then famous as the world's largest office building and still noteworthy for its interior light court and busy Mannerist surfaces. Three blocks north on Main street stood Leopold Eidlitz's Buffalo Public Library [Fig. 6] whose angular medieval design defeated a competing design by the renowned H. H. Richardson. That all of these architects were from Boston, New York, and Chicago is a testament to the vision of Buffalo's Nineteenth century patrons. Fig. 2. "Frederick Law Olmsted's Park System for Buffalo" Image Source: Francis Kowsky. The Best Planned City The Olmsted Legacy in Buffalo, (Buffalo, N.Y., 1992, Fig.7. Fig. 4. Shelton Square: (above left to right) St. Paul's Episcopal Cathedral, Sullivan's Guaranty Building and Post's Erie Savings Bank. Louis Sullivan's Guaranty Building (right). �"Daniel Burnham, Ellicott Square Building, 1895-6" Image source: Views of Buffalo [no pagination] Fig. 6. "Leopold Eidlitz, Buffalo Public Library" Image source: Quinan post card, "Buffalo Public Library, Buffalo, N.Y." �Fig. 8. Green & Wicks, Buffalo (Erie) Savings Bank Figure 15. Albright Art Museum, designed by E. B. Green. �Downtown Buffalo was ultimately the creation of scores of architects but among them, Edward B. Green and his partner, William Wicks, dominated local practice for more than fifty years and had a decisive impact upon the character of the city. At the time of the Pan American Exposition they had completed the Merchant's Exchange (c1887), the Granger Block (c1887), the D. S. Morgan Building (1894), the O'Day and Rockefeller Building (1890), the Hollister and Evans Block (1890­ 91), the J. N. Adams Dry Goods Store (1891), the Dun Building (1894-5) [Fig. 7], the Market Arcade (1892), the Bank of C Commerce (1894-5), the Buffalo Real Estate Exchange Building (1895-6) and the Buffalo Savings Bank (1900-1) [Fig. 8]. Most of these were sturdy, confident Classical buildings often rendered in warm Roman brick with richly articulated terra cotta details, though Green was equally adept in Gothic, Tudor, and eventually Art Deco design modes. Fig. 7. (left) Dun Building, one of several buildings by Wicks & Green. �The industrial Buffalo extolled by Reyner Banham in A Concrete Atlantis (Cambridge, Mass., 1986) is a city of monolithic concrete grain elevators and reinforced concrete-framed "daylight factories" that post-date the Pan American Exposition. In contrast to the smooth curves of the concrete grain silos of the Twentieth century, their predecessors [Fig. 9] were dark, angular and ungainly in proportion, and somewhat frail owing to their metal frames and highmaintenance brick construction. The lone survivor of the Fig. 10. "Max Toltz with D. A. Robinson, Pillsbury or Great Northern Grain Elevator, 1898" Source: Quinan post card type is the Pillsbury or "Great Northern" elevator [Fig. 10] of 1898. In the days before reinforced concrete industrial construction in Buffalo was dominated by the R. J. Reidpath company, architectural engineers whose Fig. 9. Nineteenth Century grain elevators in Buffalo segmentally arched windows, bull-nosed brick detailing, economical wall construction and overall fine sense of proportion is still visible in the Larkin industrial buildings on Seneca Street. Sadly, the artifacts of Industrial Buffalo are disappearing at an astonishing rate and must be ferreted out in isolated pockets such as Chandler Street where the Buffalo Weaving and Belting Company still operates. Residential Buffalo developed in a series of rings determined by the advances in transportation systems across the Nineteenth century. Joseph Ellicott's city was modest in size and was negotiated on foot, horseback, or horse-drawn carriage. By mid-century, however, horse drawn trolleys expanded the perimeter of the city by about two miles and promoted the development of the neighborhoods north and east of "H. H. Richardson, William Dorsheimer House, 1869-71" Source: Quinan slide Allentown and in South Buffalo. In the 1880s the development of the Belt-Line Railroad and the electrification of trolleys in the 1890s spurred new suburban neighborhoods four and five miles from the city center. Throughout the century Delaware Avenue, one of Ellicott's original streets, remained a Fig. 12. "McKim, Mead & White, Pratt Mansion, 1895-6" Source: Quinan slide �street of imposing mansions, some designed by such distinguished practitioners as Boston-based H. H. Richardson (the Dorsheimer [Fig. 11] and Gratwick houses), New York City's McKim, Mead and White (the Butler, Pratt [Fig. 12], Root and Metcalfe houses), and Joseph Lyman Silsbee of Chicago (the J.M. Bemis House [Fig. 13] and numerous other houses on Linwood and Delaware Avenues) while most fell to such distinguished local architects as Green and Wicks, Edward Kent, George Cary, C.W. Swan, and C.R. Percival. Richardson's William H. Gratwick Mansion, demolished in 1919, was a stunning essay in monumental stonework wherein medieval forms are disciplined by functional considerations. McKim, Mead and White's work is representative of their embrace of Beaux-Arts Classicism tempered by a loyalty to the American Colonial style. Silsbee was a passionate devotee of the Queen Anne revival in which complex but sensibly organized forms were arrayed in a rich surface of cut shingles, carved accents, and decorative glazing. Frank Lloyd Wright said of Silsbee, his first employer, that "he drew like a dream." "Jospeh Lyman Silsbee, J. M. Bemis Mansion, 1883" Image source: Quinan slide Buffalo has a wealth of Victorian domestic architecture but the greatest portion of the fabric of the city consists of a standard plan two story, two-family wood frame and gable roofed structure [Fig. 14] inserted into the new, trolley-serviced neighborhoods, especially north of the downtown area, by developers. The Parkside neighborhood is hardly typical as it was designed by Olmsted with curving streets to wrap the northeast segment of Delaware Park, but while Jewett Avenue was treated as a gateway from Main street to the Park and features many substantial houses, the lesser streets, such as Russell, are populated with the standard developers' housing. Fig. 14. Standard plan, 2 family wood frame home �The Pan American Exposition stimulated the development of the Olmsted boulevards that led from E. B. Green's First Presbyterian Church at Symphony Circle along Richmond Avenue to Bidwell and Lincoln Parkways and into the park itself. Here a second wave of ealthy patrons built pretentious homes to the designs of local architects, a sign, perhaps, that fortunes were leveling and visions were dimming. Nevertheless, as George Cary and E. B. Green designed the New York State Building (now the Buffalo and Erie County Historical Society) and Fig. 16. "Richardson, Buffalo State Hospital, 1870-96" Image source: Quinan slide the Albright Art Museum [Fig. 15], respectively, in concert with the Fair, the city's cultural institutions were clearly leaving the old downtown and moving to the Olmsted-defined fringe, a region in which the far-sighted William Dorsheimer had assisted H. H. Richardson in obtaining the commission for the State Mental Hospital 16b], with landscape by Olmsted, in 1870. Ellicott's Buffalo, Industrial Buffalo, Victorian Buffalo, Classical Buffalo, Olmsted's Buffalo, ethnic Buffalo, Downtown Buffalo; the city is the usual synthesis of the ideas and visions and creativity of many minds over time, but its uniqueness lies in the quality of the work up to 1900 and its exceptional rate of survival. LIST OF ILLUSTRATIONS • Fig. 1. Ellicott's Plan for Buffalo, 1804 (image from Francis Kowsky The Best Planned City The Olmsted Legacy in Buffalo, (Buffalo, N.Y., 1992, Fig. 2) • Fig. 2. Frederick Law Olmsted's Park System for Buffalo (Kowsky, Fig. 7.) • Fig. 3. Vintage Photograph of Downtown in the 1890s (source?) • Fig. 4a. Shelton Square (Richard Upjohn, St. Paul's Episcopal Cathedral, 1849-51; Louis Sullivan, Prudential (Guaranty) Building, 1895-6; George Post, Erie County Savings Bank, c1890 (from Prudential and Erie Savings Bank in Post Card views) • Fig. 4b. Louis Sullivan, Prudential (Guaranty) Building, 1895-6 (from Prudential post card view) • Fig. 5. Daniel Burnham, Ellicott Square Building, 1895-6 (from Views of Buffalo) • Fig. 6. Leopold Eidlitz, Buffalo Public Library (from Quinan post card) • Fig. 7. E. B. Green and William Wicks, Dun Building, 1894-5 (Quinan slide) • Fig. 8. Green & Wicks, Buffalo Savings Bank, 1900-1 (Quinan slide) • Fig. 9. Nineteenth Century Grain elevators in Buffalo (Photo courtesy of the Buffalo and Erie County Historical Society) �• Fig. 10. Max Toltz with D. A. Robinson, Pillsbury or Great Northern Grain Elevator, 1898 (J. Q. Post Card) • Fig. 11. H. H. Richardson, William Dorsheimer House, 1869-71 (Quinan slide) • Fig. 12. McKim, Mead & White, Pratt Mansion, 1895-6 (Quinan slide) • Fig. 13. Jospeh Lyman Silsbee, J. M. Bemis Mansion, 1883 (Quinan slide) • Fig. 14. Common two-family wood frame house (Quinan slide) • Fig. 15. Green & Wicks, Albright Art Gallery, 1900-5 (Quinan slide) • Fig. 16, Richardson, Buffalo State Hospital, 1870-96 (Quinan slide) © 2001 - Jack Quinan Jack Quinan, Ph.D., is Curator of the Frank Lloyd Wright designed Darwin D. Martin House on Jewett Parkway in Buffalo and is adjunct professor of architecture at the Frank Lloyd Wright School of Architecture, Taliesin West, Scottsdale, Arizona. His 1987 book, Frank Lloyd Wright's Larkin Building: Myth and Fact, (Cambridge, Mass.: AHF/MIT Press,) is considered by Wright scholars to be a classic. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Buffalo Architecture at the Time of the Pan-American Exposition Description An account of the resource Buffalo Architecture at the Time of the Pan-American Exposition of 1901. Creator An entity primarily responsible for making the resource Quinan, Jack Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Quinan, Jack Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Image Identifier An unambiguous reference to the resource within a given context buffalo-architecture-at-the-time-of-the-pan-american-exposition Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Architecture--New York (State)--Buffalo Exhibition buildings--New York (State)--Buffalo Exhibitions--New York (State)--Buffalo Pan-American Exposition (1901 : Buffalo, N.Y.) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/b62b347e7109dee8411493aadee193d1.pdf 4cef06128e0b9a0400c949a0360ed109 PDF Text Text Bands of the Pan-American Exposition Frank Cipolla For the Pan-American Exposition of 1901 upwards of twenty professional bands were engaged to present five to seven concerts a day between May and October. In addition, bands played for the military exercises, parades, and other activities that were a regular feature of the exposition. Why so many bands? By the year 1901, bands were at the zenith of their popularity. They had been an integral part of the developing cultural and social life of communities during the nineteenth century, as witnessed by the number of gazebo bandstands that still grace many a town or village square to this day. New designs in wind instrument manufacture provided bands with a greater palette of musical sounds for outdoor performances. Bands became so numerous that, during the Civil War, Congress ordered the regimental bands of the Union Army to be limited to one band for each brigade. Following the war years brass bands continued to flourish in large and small communities alike. Improvements in transportation, mainly the growth of the railroad system, gave rise to a number of outstanding professional bands that could easily travel and thus be heard in cities and towns all across the United States. John Philip Sousa, for example, not only toured the length and breadth of North America with his great band, but also made four extended trips to Europe as well as a world tour during his long and illustrious career. Three Buffalo bands, the 65th and 74th Regiment Bands and Scinta's Band were engaged to perform at the exposition. The first two were local bands under contract to provide music for various regimental functions, but were free to accept other engagements - a common practice of most military bands at the time. Scinta's Band was popular with local residents since it coincided with the great period of Italian immigration to Buffalo. 65th Regiment Band �74th Regiment Band Scinta Band �Visitors to the Pan-American Exposition not only could listen to some of the finest bands in the country but also were treated to an array of the foremost instrumental soloists. Herbert L. Clarke (cornet), Arthur Pryor (trombone), and Simone Mantia (euphonium), featured performers with the Sousa Band, are still recognized as legends on their respective instruments. William Paris Chambers was cornet soloist with Francesco Fanciulli's 71st Regiment Band of New York, and cornetist Bohumir Kryl was heard during two engagements, first in August with Phinney's United States Band and then in October with the band of Frederick Innes. Thomas Brooke's Chicago Marine Band featured the father and son team of James (father) and Edward Llewellyn as cornet soloists. Edward, who was in his early twenties at the time, went on to a symphonic career, initially as first trumpeter in the Pittsburgh Symphony Orchestra and then for a long period as principal trumpet of the Chicago Symphony Orchestra. Simone Mantia Bohumir Kryl Herbert L. Clarke Arthur Pryor In 1901, Buffalo was the place to be if one wished for the sights and sounds of some of the greatest bands of North America or to witness the eloquent execution of superlative instrumental soloists. © 2001 Frank Cipolla Frank Cipolla is Professor of Music Emeritus, University at Buffalo, The State University of New York � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bands of the Pan-American Exposition Subject The topic of the resource Bands (Music)--New York (State)--Buffalo Military bands--New York (State)--Buffalo Exhibitions--New York (State)--Buffalo Pan-American Exposition (1901 : Buffalo, N.Y.)--Songs and music Description An account of the resource A description of concert and military bands of the Pan-American Exposition of 1901 Creator An entity primarily responsible for making the resource Cipolla, Frank Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Cipolla, Frank Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Image Identifier An unambiguous reference to the resource within a given context bands-of-the-pan-american-exposition Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/093dbf164ca6317f40f6fb43aa112a41.pdf 1fb354a7ae2627a73b18f19e79bd7568 PDF Text Text 1901 and The New Home Entertainment Robert J. Berkman Even before the Pan American Exposition, progressive types observed that we were poised for a revolution in the home. Edison's (and his competitors') electric light and power systems were already changing the ambient noise of life from "clank and hiss" to a steady "hum", and soon an array of new devices lightened the homemaker's burden. Some of these were labor­ saving devices, others were meant to provide home entertainment to fill the increased leisure hours. Principle among the latter were the phonograph and the player piano, and while one has become a cultural force, the other has virtually faded from view. Edison had invented the phonograph in 1877, but many years passed before it began to emerge as a home entertainment device. Edison's refusal to see it in this light (as opposed to his original conception of it as an office dictating machine) began to erode as competing inventors and entrepreneurs identified it as a new and profitable industry waiting to be born. Enormous systems had to be worked out first - the design and manufacture of reliable, popularly-priced phonographs; the materials and means to mass produce records; and most of all, the great pop culture complex had to grow up, Cornetist recording in La Nature, August 1889. From Hammer Collection, Smithsonian Institution. eventually encompassing songwriters, music publishers, theatre owners, celebrity performers of all types, wholesalers, retailers, publicists - not to mention the later addition of Hollywood, radio, television, and the Internet. Such complexes do not spring into being fully formed. Nevertheless, by the mid-1890's the phonograph business was on its way to success. Emile Berliner's convenient disc records were fast becoming serious competitors to the more cumbersome wax cylinders then in use, and following much legal wrangling his patents became the basis of the eponymous Victor Talking Machine Company in 1901. This enterprise led the way to the fulfillment of the phonograph's promise as a home entertainer, at the same �time eliminating a key participatory attraction of the cylinder phonograph: Participation in home recording was not possible with discs. This liability (if liability it was) was far outweighed by the discs' ease of use to judge from the thousands who flocked to Victor's exhibit at the Pan, snapping up miniature souvenir records that bore an endorsement from John Philip Sousa. (Victor's major competitor, The Columbia Phonograph Co., was also to offer a Pan Am item. After the assassination of President McKinley, they issued a record of his last speech - though spoken by an actor.) Meanwhile, the mechanical piano had been developing since the late 1860's. At that time owning a piano was a hallmark of American middle class respectability and remained so well into the 20th century. To use it, however, meant that someone in the home had to learn to play it. The usual someone was a daughter, piano playing being considered largely a "female accomplishment" imposed upon young ladies without regard to their level of innate musical talent. It might be guessed that innate musical talent was as scarce then as now, and that a ready market existed for a mechanical piano player. The most successful of these piano players was the Pianola, introduced in 1898. Invented by Edwin S. Votey and brilliantly marketed by the Aeolian Company, the Pianola was already a world-wide phenomenon by the time of the Pan. Soon enough a huge library of music rolls was available, listing everything from ragtime to Chopin. The player piano industry also tapped into and contributed to the pop culture complex, including contacts with songwriters, publishers, pianists, - and even the phonograph record companies. The QRS Music Roll Co. (founded 1900) issued special rolls to be played along with favorite Victor Records. By 1901, then, both the phonograph and the player piano were in their ascendency. The phonograph, though it has had fallow periods, has been continuously upgraded technologically and flourishes today as the modern CD player. Player piano sales, on the other hand, began to slide after 1923 and virtually came to a halt in 1931. Though there was a nostalgia-driven revival in the 1960's and 70's, that too has subsided to a trickle. Why is this so? �Of course, several reasons seem self-evident. The rise of free entertainment on radio and the onset of the Great Depression clearly sent the player piano hurtling toward oblivion. Compared to any phonograph of the time (not to mention the modern CD player), the player piano was much more expensive and far less portable. The piano itself began to slip from its place of honor in the home, to the point that any keyboard in the home today is likely to be a versatile electronic one interfaced to a computer. And pop music, with its increasingly multi-layered sounds and sonic effects, became less and less suitable for piano adaptation. But the main reason may be more a sociological one than a technological one. When playing a Pianola one is actively participating in the making of the music, a selling point stressed in much early advertising. In fact, considerable skill is needed to operate a Pianola if anything like "musical" results are to be obtained. It is not the passive experience that listening to a record is. While this "selling point" intrigued many would-be pianists in 1901 and continues to interest a tiny band of devotees, the general public ultimately found it too taxing. The player piano's biggest years began in 1916 when, karaoke-like, the song lyrics began to be printed on well-arranged rolls that left little for the public to do but pump the pedals and sing along. Singing along with a player piano is a participatory aspect which requires no skill, just camaraderie and the lack of self-consciousness it inspires. Yet even this level of participation --- gathering around the player piano for a sing-along --- is a type of fun foreign to people who were becoming used to receiving their musical entertainment passively. It is not quite true to say that the mechanical piano has vanished from the scene. Among the wonders of the early 21st Century are new self-playing piano systems that are enjoying considerable success in the marketplace, the paper rolls replaced by hi-tech floppy disks and CDs. These systems are capable of excellent performances, requiring no interaction by the user beyond pushing the "play" button. This suggests that in order to appeal to the 21st Century customer, the mechanical piano needed its participatory aspects eliminated; for while new and wonderful revolutions in daily life undoubtedly loom, it is unlikely they will rekindle in us a desire to work any harder than we have to for our home entertainment. Sic transit gloria pianola! © 2001 Robert J. Berkman Robert J. Berkman is Chief Operating Officer of QRS Music Technologies, Inc., Buffalo, N.Y. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1901 and The New Home Entertainment Description An account of the resource Phonographs, player pianos, and other music devices at the Pan-American Exposition of 1901 Creator An entity primarily responsible for making the resource Berkman, Rober J. Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Contributor An entity responsible for making contributions to the resource Berkman, Rober J. Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Image Identifier An unambiguous reference to the resource within a given context 1901-and-the-new-home-entertainment Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Exhibitions--New York (State)--Buffalo Pan-American Exposition (1901 : Buffalo, N.Y.) Pan-American Exposition (1901 : Buffalo, N.Y.)--Songs and music Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/02ed15415dcf286d3f4e69ceb01cf6a4.pdf bc35ea79dc45469303c86adb12b13a5b PDF Text Text The Visual Landscape Visual culture at the Pan-American Exposition was richly represented throughout the grounds, with the use of architecture and sculpture as well as artistic exhibits and galleries of fine art. Such visual exhibits were primarily the work of artists from the United States, although significant contributions were made by other "Pan-American" countries like Canada, Mexico and Chile. The Albright Art Gallery, building of marble designed to resemble the temples of Ancient Greece, was to be constructed on the Exposition grounds and was intended to house the Exhibit of Fine Arts. That it was not completed in time for the Exposition was not lost upon Exposition visitors, as this imposing building's construction was itself, an exhibit. "Very few people seem to be aware, and most people seem surprised to be told, that, whatever else is or is not to be seen at the Pan-American Exposition, there is to be found there the most complete and representative exhibition of American art ever yet got together.... One could count upon the fingers of one hand the men who have made any mark in American art during [the last quarter of the nineteenth century] who are not here represented by at least one work; and the cases where the work shown is not fairly representative are very few and, for one or another reason, nearly inevitable. The dead and the living, the Americans who paint abroad and those who stay at home, the figure-painter and the landscape-painter, the draughtsman and the colorist, the impressionist and the followers of the latest Parisian fancy-the "black band"-are all here, each doing his best to show that America has produced something vital and permanently valuable in art."1 The directors of art, architecture, sculpture and color were unified in the desire to bring to the fair's visitors, their vision of American civilization and technological prowess of man through an exhibition of the "allied arts." Karl Bitter's sculpture plan emphasizing the "Progress of Man" was enhanced by the color scheme of C. Y. Turner, the Director of Color. The overall layout and design of the grounds and the architectural style of the exposition buildings emphasized what John M. Carèrre and the Board of Architects felt was a uniquely "American" style. William Coffin, Director of Fine Arts would continue this theme in the installation of an exhibit of the works of artists primarily from the United States, but also form other countries of Pan-America. Of course, the commercial goals of the Pan-American Exposition were apparent even in the fair's visual culture. Evelyn Rumsey Cary's poster, The Spirit of Niagara and Raphael Beck's design for the Exposition's official seal were works used most heavily in the advertising and marketing material for the Exposition as well as the souvenirs sold by the thousands to Exposition visitors. �This portion of the online exhibit examines the "visual culture" of the Pan-American Exposition, from its architectural layout and use of color, to the formal works exhibited in the Gallery of Fine Arts. Also addressed are some of the artistic exhibits that appeared in the Manufactures and Liberal Arts Building—works by such names as Tiffany & Co. and Gorham. While these artistic exhibits were commercial in nature and outside the perusal of the Exposition planners, they were never-the-less, awe-inspiring in their artistic nature. See also, essays related to these subjects, including one describing Buffalo architecture during the period and another describing the work of the Exposition's official photographer, C. D. Arnold. "New Panoramic View of the Illumination Looking for the Triumphal Bridge". Photographer: Undetermined. Source: The Latest and Best Views of the Pan-American Exposition, Buffalo, N.Y.: Robert Allen Reid, 1901. From its inception, the architectural board of the Pan-American Exposition was faced with the challenge of meeting the expectations and demands of Exposition planners. The architects were charged not only with the design of the buildings, but also with the development of a formal landscape plan comprising fountains, lagoons, basins, a large network of canals and extensive horticultural plantings. The plan was also expected to encompass extensive electrical illumination effects, which presented a new challenge to architects and designers, but also an opportunity for creative exploration.1 • The Exposition Formula • The Architectural Scheme • The Buildings Reference Cox, Kenyon. "American Art at Buffalo." The Nation: A Weekly Journal Devoted to Politics, Literature, Science, and Art, August 2, 1901. �The "Exposition Formula" From an architectural perspective, the Pan-American Exposition was an example of the very successful utilization of the "Exposition Formula," which grew from the tone set by the previous world's fairs in Philadelphia (1876) and Chicago (1893). Joann Thompson describes some of the common elements of this formula below2 (applications of these elements to the Pan-American Exposition follow in parentheses): • Evocations of an earlier time. (Spanish Mission and Renaissance architectural styles.) • Several buildings of a common theme or style grouped around a centralized focal point in a landscaped setting. (The Electric Tower and buildings on the Court of Fountains.) • The exposition as a self-contained city exhibiting the wealth and diversity of the contemporary world. (Thousands of exhibits in an economically thriving region of the country.) Temple of Music as seen Through the Colonnade. Photographer: Unidentified. Source: Pan­ American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901. Courtesy of Kerry S. Grant • The exposition itself serving as an exhibit. (Illumination, impressive architecture and novel use of color.) • A very prominent building as a focal point. (The Electric Tower.) • The "secret pleasures" of an Exposition Midway In applying this formula to the Buffalo Exposition, Thompson wrote, "The prototype [exposition] consist[ed] of palatial structures situated in a park, the whole of which was to commemorate a particular event or ideal." The Pan-American Exposition exemplified this formula with "more big buildings and an impressive park setting to celebrate the supremacy of the United States in the Western Hemisphere."3 The Board of Architects The Executive Committee of the Exposition Board of Directors was chaired by John N. Scatcherd, who also served as the chairman of the Buildings and Grounds Committee. Another important figure in the development of the �grounds was Newcomb Carleton, an engineer who served at the Director of Works. Scatcherd and the Executive Committee chose those men who would comprise the Exposition's Board of Architects. John N. Scatcherd. Photographer: Unidentified. Source: The Pan-American Herald, v. 1, no. 5 (October, 1899) p. 49. Newcomb Carleton. Photographer: Unidentified. Source: The Pan-American Herald, v. 1, no. 5 (October, 1899) p. 48. John M. Carrère. Photographer: Unidentified. Source: The Pan-American Herald, v. 1, no. 2 (August 15, 1899) cover page. John M. Carrère was selected as the Chairman of the committee with William Welles Bosworth as the Assistant to the Chair. Both were of Carrère and Hastings in New York and would assume responsibility for the block plan of the Exposition and the treatment of all grounds and features not assumed by the other members of the board. (John Carrère would be the architect to design Buffalo's 1907 monument to U. S. President William McKinley, who was assassinated at the Pan-American Exposition. The McKinley Monument is located in Niagara Square in downtown Buffalo.) Robert Swain Peabody (1845-1917), from the Boston firm Peabody and Stearns, designed the Horticultural Group, the Forestry Building and the Graphic Arts Building. �An influential architect and writer, Peabody graduated from Harvard in 1866 and later attended the Ecole des Beaux-Arts in Paris. He returned to Massachusetts, in 1870, and formed a partnership with John Stoddard Stearns (1843-1917). The practice of Peabody & Stearns attracted a creative team of skilled architects. Peabody tended to produce the original sketches and delegate design responsibilities to the younger architects, while Stearns supervised construction. George Cary, (1859-1945) of Buffalo. Cary designed the Ethnology Building and the New York State Building. A Buffalo native, Cary received a formal education at Harvard, and after graduating in 1883, studied architecture at Columbia University, with four additional years at the Ecole Des Beaux Arts in Paris. Following his return to this country in 1891, Cary opened an office in Buffalo, and remained in this professional practice throughout his long and successful career. Among the many public and private buildings he designed, were: • The General Hospital • Dental College and several other buildings at the University of Buffalo • State Hospital for Malignant Disease • The Entrance gate to the Forest Lawn Cemetery at 1411 Delaware Avenue. An early member and one-time president of the Buffalo Chapter, Cary was made a Fellow of the Institute in 1892, and from 1908 to 1910 served as a member of the national Board of Directors of the Fine Arts Academy and George Cary. Photographer: Unidentified. Source: Men of Buffalo; a Collection of Portraits of Men Who Deserve to Rank as Typical Representatives of the Best Citizenship, Foremost Activities and Highest Aspirations of the City of Buffalo. Chicago. A. N. Marquis & Co., 1902, p. 411. the Albright Art Gallery.4 Edward B. Green, of Green & Wicks, Buffalo, N.Y., designed the Electricity Building and the Machinery and Transportation Building. Green was also the architect of the Albright Art Gallery. Although plans called for this building to be constructed as one of two permanent structures of the Exposition, it would not be completed until 1905. E.B. Green was born in Utica, NY in 1855 and graduated from Cornell University with a bachelor of architecture degree in 1878. After three years in an architectural office, he joined with Sydney Wicks, an MIT graduate, in opening an architectural practice in Auburn, NY. The firm of Green and Wicks moved to Buffalo in 1881. Wicks served as a park Edward B. Green. Photographer: Hall (Buffalo, N.Y.) Source: The Pan-American Herald, v. 1, no. 2 (August 15, 1899), p. 4. commissioner in Buffalo for three years and helped to promote development of the Parkside community.5 �Today, more than 160 of their Buffalo buildings still stand. Some of the joint projects of Green & Wicks include: • Dun Building, Buffalo's first highrise building (110 Pearl Street) • Buffalo Savings Bank (545 Main Street) • First Presbyterian Church (One Symphony Circle) August Esenwein (1856-1926), also of Buffalo and a partner in the firm, Esenwein & Johnson, was the architect of the Temple of Music. Esenwein, was born in Germany and studied architecture in Paris before coming to Buffalo in 1880. He was a highly skilled architect and an excellent salesman who teamed with James Addison Johnson (1865-1939) of Brewerton, New York. Johnson was born in Brewerton, NY and trained at the prestigious McKim, Mead and White in New York City. He had a flair for outstanding ornament, as evidenced by his design of the spectacular marble floor of the Ellicott Square Building.6 Many of this team's buildings remain today. A few of these include: August C. Esenwein. Photographer: Jansen Source: The Pan-American Herald, v. 1, no. 2 (August 15, 1899), p. 2. • Calumet Building (46-58 West Chippewa Street) • Niagara Mohawk Building, originally the General Electric Tower (535 Washington Street) • Col. Francis G. Ward Pumping Station, the largest in the world in its day • Lafayette High School (370 Lafayette Avenue) • Jewett House (313 Summer Street) • Buffalo Museum of Science (1020 Humboldt Parkway) • The original Lockwood Library, now Abbott Hall on the University at Buffalo's South Campus NOTE: Cary, E. B. Green and Esenwein had been involved in the planning of the Exposition since its inception. In fact, in 1897, when the the Exposition was in the planning stages for its original opening in 1899, August Esenwein had served as Director of Architecture. By October he had already prepared the plans for the buildings before "outside" participants were brought in.7 George Foster Shepley (1860-1903), of Shepley, Rutan & Coolidge, Boston, designed the Manufactures and Liberal Arts Building as well as the Agriculture Building. Born in St. Louis and educated at Washington University and MIT. In 1886, he organized the firm of Shepley, Rutan & Coolidge. The firm inherited H. H. Richardson's practice in 1886 and was responsible for completing many of his most noteworthy designs. In 1892, the firm won the competition for the Chicago Public Library which led to the commission for the Art Institute of Chicago in the following year. The design for the library is a good example of the firm's turn from the �Richardsonian Romanesque style to the Renaissance Revival associated with the overall theme of the Pan-American Exposition. John Galen Howard(1864-1931), created the Exposition's focal point, the Electric Tower. Born in Chelmsford, Massachusetts, and a leader in the American Renaissance movement, Howard was educated at the MIT (1882-1885) and the Ecole Des Beaux-arts (1891-1893). He was an apprentice with H. H. Richardson and then a draftsman with Shepley, Rutan & Coolidge. Later, he helped found the prestigious practice of Howard, Cauldwell & Morgan in New York City, and was asked to join the Exposition's Board of Architects. After practicing in New York, Howard moved to California in 1901 to execute the Hearst Plan for the University of California, Berkeley, and to establish the School of Architecture there. He became the School's Director and a professor of Advanced Design. While teaching and designing the John Galen Howard. Photographer: Undetermined. Source: American Monthly Review of Reviews, v. 23, no. 137 (June 1901), p. 683. university's new buildings, he maintained a sizable practice in San Francisco. Some of Howard's houses were designed in the casual Bay Area tradition, but his commercial and public buildings consistently exhibited his desire to create a progressive classical tradition appropriate for America. Walter Cook, of Babb, Cook & Willard, New York, was responsible for designing the Plaza and entrance to the Midway, the Propylæa, and the Stadium. James Knox Taylor served the board in an ex-officio capacity. However, as Supervising Architect of the United States, he was responsible for overseeing the design of the United States Government Building. Walter Cook. Photographer: Undetermined. Source: The Pan­ American Herald, v. 1, no. 2 (August 15, 1899), p. 2. �Karl Bitter. Photographer: Undetermined. Source: The Criterion, (May 19, 1901), p. 10. Charles Yardley Turner, Director of Color. Photographer: Undetermined. Source: The Criterion, (May 19, 1901), p. 10. Added to the board in ex-officio status, were Charles Yardley Turner, the Director of Color, and Karl Bitter, Director of Sculpture. The collaboration between Turner, Bitter and the Board of Architects was evidence of Carrère's vision of one of the greater goals of the Exposition's design: ... At Buffalo, the Board of Architects of the Pan-American Exposition, with a full realization of the importance of the task imposed upon them and with the desire to avoid reminiscences of the Chicago Exposition, decided that the purpose of the setting of this Exposition should be to develop a picturesque ensemble on a formal ground plan, introducing architecture, sculpture, and painting as allied arts.8 References 1. Joann M. Thompson. The Art and Architecture of the Pan-American Exposition, Buffalo, New York, 1901. Unpublished dissertation. Rutgers University, the State University of New Jersey, 1980. p. 20. 2. Ibid., pp. 19-20. �3. Ibid., p. 18. Thompson makes and interesting point in comparing the Pan-American Exposition to the world's fairs of Europe, where the United States was often viewed as "culturally less developed" participants. In the case of the Buffalo Exposition, which was a hemispherical rather than a true world's fair, "[exposition] producers may have realized that their United States role vis- à-vis that of the developing Latin and South American countries, was very similar to that of the United States relative to Europe's example, but with America having the upper hand as the culturally superior entity to its less developed neighbors." 4. Information on George Cary from Chuck LaChiusa, "George Cary 1859-1945," Buffalo as an Architectural Museum. 5. Information on E.B. Green obtained from "Edward Brodhead Green and Associates," Buffalo as an Architectural Museum. 6. Information on August Esenwein from Chuck LaChiusa, "Esenwein & Johnson in Buffalo, NY," Buffalo as an Architectural Museum. 7. Pan-American Herald, v.1, no.5 (October 1899) p. 7 ; Thompson, p. 279 n. 12. 8. 8. John M. Carrère, "The Architectural Scheme," Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, NY: David Gray, 1901, p. 13. Click to view the Art Handbook]. See also Kerry S. Grant, The Rainbow City: Celebrating Light, Color and Architecture at the Pan-American Exposition, Buffalo, 1901. Buffalo, N. Y.: Canisius College Press, 2001, p. 11. �The Architectural Scheme • The Plan • The "Progress of Man" • A Definitive Style • Architecture and Color The Plan John Carrère, Chairman of the Board of Architects of the Pan-American Exposition, saw the exposition's layout as an "artistic composition." Formal symmetry governed the plan and uniformity of scale was one of the most important harmonizing factors. Since the architects also had the advantage of grounds that lay adjacent to the Frederick Law The Bridge of the Three Americas, viewed from the Delaware Park Casino. Photographer: C. D. Arnold, c1900. Source: American Monthly Review of Reviews, v. 23, no. 137 (June 1901), p. 677. Olmstead designed Delaware Park, "it was apparent that the Exposition must be strongly influenced by its proximity to the Park; but, as it was out of the question to alter the Park, even to the extent of removing any great number of its beautiful trees, and it was therefore impossible to extend the Exposition into the Park, it was decided to extend the Park into the Exposition, ... and thus to make them part of each other."1 The Exposition view from the Casino and in Delaware Park. Proximity to Delaware park was advantageous to planners. The New York State Building is on the left of the "Bridge of the Three Americas." To the right is the roof of the Horticulture building. The overall "block plan" was based in simple lines, with the main axis running north and south, surrounded by the secondary axes. Carrère referred to the main axis as the "Axis of the Esplanade," which took the visitor from the Triumphal Bridge to the Electric Tower. The A Shaded Walk Near the Triumphal Bridge. Photographer: Undetermined. Source: Cosmopolitan, v. 31, no. 5 (September 1901), p. 538. �major buildings were grouped on the secondary axes, with symmetry and balance maintained by placing buildings of different character and purpose, but similar size and structure directly opposite one another across the main axis. " ... the visitor will see what is meant by "formality picturesquely developed" when looking at the attempt to balance two buildings as totally different in character, purpose, and design as the Horticultural Building on the one side of the Esplanade and the Government Building on the other, or the Electricity and Manufactures Buildings On the one side of the main axis and the Liberal Arts and the Agricultural Buildings on the other.... "2 Joann Thompson points out that "[t]he intention behind this arrangement was to achieve a unified effect, which did not necessarily imply an identical, neatly symmetrical image, but instead, a dialog of similar masses. So, in spite of the formality of the plan, an element of flexibility was not only desirable, but was actually incorporated into the designing of the whole."3 Thus while the buildings opposite each other across the main axis differed in design and ornamentation, they, in essence, were of similar size and shape. The maps below illustrate this "symmetry of scale." Map Showing the Main and Secondary Axes and Illustrating the Symmetry of Scale. Derived from the 1901 map, Plan of the Pan-American Exposition to be Held at Buffalo, New York, May 1 - Nov. 1, 1901, (Plan revised to April 15, 1901). Original map was drawn by C. E. Peltz and published in Buffalo, N.Y., 1901. From the collection of the University Archives, State University of New York at Buffalo. Axes notes added in 2003; based on information found in John M. Carrère, "The Architectural Scheme," Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Three-Dimensional Map Illustrating the Axes and Symmetry of Scale of the Exposition Plan. Derived from a rendering by Murray Smith, published by Orvis and Smith, Buffalo, N.Y., [1901]. Original is from the collection of the Buffalo and Erie County Historical Society. In Kerry S. Grant, The Rainbow City : Celebrating Light, Color and Architecture at the Pan-American Exposition, Buffalo, 1901, Buffalo, N.Y. : Canisius College Press, 2001. �"The idea of a comprehensive view arranged along a dominant axis was one which figured frequently in turn-of-the-century City Beautiful schemes, for which Buffalo's exposition became an example."4 The canal, one of the more popular features of the exposition, may have served an entertainment function by affording visitors an opportunity to tour the Exposition by boat. To Carrère, however, the waterway had a more functional purpose in serving as the boundary of the Exposition's main architectural group. Beyond the canal lay the secondary buildings, restaurants and of course, the Midway. Carrère describes this: "...In order clearly to define the importance of this architectural setting, and also to make room for the numerous secondary buildings and side-shows, which could not well be brought into harmony with this main part of the composition, the very interesting feature of the canal was adopted at the suggestion of the laymen of the Board. This canal places the main part of the scheme within well-defined and formal limits and permits of all the more freedom beyond its boundaries. It is the means of separating the discordant elements of the scheme and yet of harmonizing them."5 On the Canal Between the Stadium (left) and the Agriculture Building (right). Photographer/Engraver : Undetermined. Source: Cosmopolitan, v. 31, no. 5 (September 1901), p. 464. On the Canal Near the Government Group. Photographer : Undetermined. Source: Pan-American Exposition Scrapbook [n.p., 1901?]. Courtesy of Kerry S. Grant �Gondola Landing — Grand Canal (Behind the Electric Tower). Photographer : Undetermined. Source: The Pan-American and its Midway, Philadelphia : J. Murray Jordan, 1901, p. 14. The Grand Canal, with the Fisheries Building on the Right. Photographer : Undetermined. Source: Cosmopolitan, v. 31, no. 5 (September 1901), p. 463. In approaching the Exposition, ideally, the visitor was to enter the grounds via the Lincoln Parkway Gateway. "From this setting, the full beauty of the Exposition unfolded as a meticulously designed asthetic experience."6 Indeed, Carrère's intention was to lead the visitor along the principal approach, through the park, "so that the spectator, as he approaches the Exposition, will see it develop gradually until he reaches the Bridge, when the entire picture will appear before him and almost burst upon him."7 It is unfortunate that this experience was missed by the majority of visitors, who, instead of walking into the Exposition through the main gate, arrived by rail and thus entered the grounds through the north gate (behind the Electric Tower.)8 �The Approach From the Park (Looking South from the Triumphal Bridge).Photographer : C.D. Arnold (c1901). Source: The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 36. Approaching the Triumphal Bridge From the South (Carrère's "ideal approach" to the Exposition).Photographer : C.D. Arnold (c1901). Source: The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 47. Outside the Lincoln Gate, Looking North. Photographer : C.D. Arnold (c1901). Source: The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 50. �The "Progress of Man" In addition to serving as components of Carrère's "artistic composition," the buildings of the Pan-American Exposition were designed and positioned to illustrate a more symbolic ideal which appealed to the Exposition planners. In the approach to and travel through the grounds, visitors would experience—through the sculpture, architecture and color—the "intellectual progress of man." The concept originated with Karl Bitter, the Director of sculpture, who planned symbolic meaning to the exhibit of sculpture throughout the grounds. Bitter envisioned a profusion of statuary and fountains decorating the grounds, illustrating in allegory the "Progress of Man." The concept not only supported but also extended the principal theme of the Exposition: "To celebrate the achievements of civilization during 100 years of development in the Western Hemisphere." Whereas the Exposition intended to focus on one century of progress, Bitter chose to illustrate man's story on an evolutionary scale beginning with representations of his origins. Very much influenced by the spirit of social Darwinism predominant at the time, Bitter saw in the Exposition an opportunity to depict in allegory and symbol the history of the development of humanity.9 In his sculpture plan, Karl Bitter described the meaning behind the placement of the principal buildings. " … We observe that to the left, on the Esplanade, buildings [the Horticulture group] as situated containing, in a measure, the examples of our natural resources. … All these things, only Nature can provide. … The other side of the Esplanade, surrounded principally by Government Buildings, invites us to speak of our people and our institutions. … The institutions of our country form a worthy parallel to our resources. … In distinct separation from the above two groups, we find another group of buildings devoted to Machinery and Transportation, Electricity, Manufacture, and the Liberal Arts. What is shown therein is neither a direct product of nature nor attributable to institutions, but solely to the genius of man, though on the basis of what material nature has provided and what freedom and liberty the institutions of his country allow him. Those buildings and the Court of Fountains, as well as the Mall, around which they are located, are therefore devoted to the allegorization of that idea."10 Map Illustrating Bitter's "Progress of Man" as Related to the Ground Plan of the Pan-American Exposition. Derived from the 1901 map, Plan of the Pan-American Exposition to be Held at Buffalo, New York, May 1 - Nov. 1, 1901, (Plan revised to April 15, 1901). Original map was drawn by C. E. Peltz and published in Buffalo, N.Y., 1901. From the collection of the University Archives, State University of New York at Buffalo. �Front of the Electric Tower.Photographer : Undetermined. Source: The Pan-American and its Midway, Philadelphia : J. Murray Jordan, 1901, p. [23.] In the Exposition plan, the Electric Tower was the focal point of the composition. It represented "...the culmination of the comingling of Man and Nature, symbolically suggesting man's intellectual and physical achievement in subduing Nature and harnessing electrical power."11 Bitter also saw the Tower basin and display of cascades and fountains as representative of Buffalo and the Great Lakes. "Buffalo's importance, growth and prosperity are chiefly due to the Great Lakes System and the waterways on which it is located. Its commerce and wealth are a direct offspring of the 'Great Waters,' as the Indians called them."12 Even the coloring of the Electric Tower suggested "water," specifically the water of Niagara Falls. C.Y. Turner spoke of "the beautiful emerald green hue of the water as it curls over the crest of Niagara Falls.... In the tower I have given it marked emphasis.... "13 A Definitive Style Although Director of Architecture, John Carrère, intended to base the formal "scheme" of the Exposition on an identifiable architectural style, common throughout the plan, there was some question as to what that style would be. In its promotional publication, The Pan-American Exposition … Its Purpose and Plan, the Exposition Company explained the ambitions of the Board of Directors, with regard to architecture and theme: This is to be an American Exposition—North, South and Middle Americas and our Islands of the Seas. Neither Greece nor Rome, nor yet Turkey come into this thing. It shouldn't be particularly classic, Gothic or Byzantine. Perhaps we cannot get away altogether from the old principles of construction, but we can at least make an effort to exemplify American architectural ideas, if we can find them.14 At the turn of the 20th Century, however, there was still controversy as to what could be defined as a uniquely American architectural style. John Milburn, President of the Exposition Board of Directors, wrote of the Exposition's "grand idea—the bringing closer together the peoples of this hemisphere in their social, political and �commercial relations."15 Thus, a style indigenous to both North and South America was certainly a logical consideration. The United States Government Building. Modeled after a Spanish cathedral. Photographer : C.D. Arnold (c1901). Source: The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 48. The Spanish-American mission style was the initial choice, although as Julian Hawthorne wrote of the Exposition's style in 1901, "[t]echnically, it is a liberal rendering of the Spanish Renaissance … it symbolizes our welcome to the genius of the Latins to mingle their strain with the genius of the Anglo-Saxon."16 The term "Spanish-Renaissance" appears to be used most often to describe the Exposition, both by contemporary and modern critics, although there is nearly universal agreement that the style was hardly "pure" in form and that there were conspicuous deviations. Watercolor Sketch of an Exposition Restaurant. Artist: C.Y. Turner. Source: The Delineator, v. 58, no. 1 (July 1901) p. 75. " ... of all the buildings created, some speak of old mission architecture and some do not. But, still, happily, although their work ran the whole gamut of architectural orders, combinations and modifications, yet it came together in harmony. Much of it is Renaissance of the freest sort; but the Spanish-American idea is dominant there, and makes itself felt throughout."17 �That the architects were allowed the freedom to deviate from Carrère's formal plan was due in part to the temporary nature of exposition architecture. Most of the buildings were constructed of staff—a mixture of plaster, gypsum and hemp usually reserved for decorative sculpture—applied over lath and iron frameworks. Since the buildings were only intended to last a season, architects could experiment with imaginative decorative effects that would not have been possible on permanent structures. Details of a Wall of the Temple of Music. Photographer: C.D. Arnold, c1901. Source: From the collection of the Buffalo and Erie County Historical Society. In Thomas Leary and Elisabeth Sholes, Buffalo's Pan-American Exposition, Charleston, SC : Arcadia Publishing, 1998, p. 34. Applying Staff to the Temple of Music's Wood Frame. Photographer: Undetermined [C.D. Arnold ?]. Source: From the collection of the Buffalo and Erie County Historical Society. In Thomas Leary and Elisabeth Sholes, Buffalo's Pan-American Exposition, Charleston, SC : Arcadia Publishing, 1998, p. 21. "[The architect] looks upon an exposition as an opportunity for artistic experiment and the execution, in temporary materials, of every dream of his imagination, no matter how fantastic. The fact that these experiments are temporary encourages him to dare, and one single great success justifies, in his eyes, the entire experiment. He �dares to do in an exposition, and is allowed to do, what no sensible person would think of attempting in permanent form."18 Carrère encouraged experimentation—within reasonable bounds—and the transient nature of the buildings afforded architects the freedom to try new ideas. Thus, The Pan-American Exposition was comprised of buildings incorporating decorative styles from numerous schools. One can see a drastic difference in the number and intricacy of decorative features when comparing staff-covered temporary buildings like the Temple of Music and Horticulture Building, to one designed to be permanent, the New York State Building, which was of the conservative Doric style and built with marble. The New York State Building. Artist: Undetermined. [c1900 Pan-American Exposition Company]. Source: Over 100 Views Showing the Grandeur of the Pan-American Exposition, Buffalo, New York--1901. Buffalo, N. Y.: Chas. J. Shults & Co., 1901. �The Temple of Music. Photographer : C.D. Arnold (c1901). Source: The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 54. The Horticulture Building. Photographer : C.D. Arnold (c1901). Source: The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 4. Architecture and Color In keeping with the notion of a "unified scheme" in the architectural planning of the Exposition, Director of Color, C.Y. Turner was invited to become a member of the Board of Architects. �Watercolor Sketch of the Propylæa at the Pan-American Exposition, 1901. Artist : C.Y. Turner. Source: The Delineator, v. 58, no. 1 (July 1901) p. 74. Turner, best known as a painter of murals, based his color scheme for the Exposition on Bitter's "Progress of Man" allegory. He wrote: In considering a scheme of color treatment for the Pan­ American Exposition, the Architecture, Sculpture, the purpose and character of the Exposition each had to be taken into account. The plan of Mr. Karl Bitter, Director of Sculpture, ... seemed to me a very logical and proper treatment of the Exposition .... Taking it for granted, then, that as we enter the grounds from the Park through the forecourt, the causeway bids welcome to the visitors and the countries C. Y. Turner's Studio (Making Watercolor Drawings as Guides for Painting the Exposition Buildings).Photographer : Undetermined (probably C.D. Arnold). Source: Scientific American. November 10, 1900, p. 293 taking part in the Exposition, we would come upon the elementary conditions, that is, the earliest state of man suggested on one side, and primitive nature on the other. I concluded that the strongest primary colors should be applied here, and that as we advance up the grounds the colors should be more refined and less contrasting, and that the Tower, which is to suggest the triumph of man's achievement, should be the lightest and most delicate in color.19 C. Y. Turner's Studio - Grouping the Models of the Exposition Buildings.Photographer : Undetermined (probably C.D. Arnold). Source: Scientific American. November 10, 1900, p. 293. �Mark Bennett described Turner's process: "To produce the exquisite color effects of the Exposition, Mr. Turner procured from the architects small sketches of all buildings, from which models were made on the scale of one sixteenth of an inch to the foot. These were grouped upon a platform 12 by 16 feet, according to the plan prepared by John M. Carrère, to whom was entrusted the arrangement of the ground plan of the Exposition. Each model was colored according to the general scheme and its relationship to surrounding buildings was studied. Even the color of the sky, the grass and flowers, the pools and fountains, was taken into consideration. Many of the models were painted several times before the proper color note was hit upon to complete the harmony."20 "Mr. Turner, in mapping out his color scheme, adhered to Mr. Bitter's idea of the evolution of man, and one who takes his first glimpse from the south will notice that the coloring upon the buildings at that point begins with the cruder colors, the strong reds, yellows, greens, and blues which the barbarian selects, and it gradually melts into orange reds, gray blues, buffs, and violets, until it culminates at the Electric Tower in ivory yellow, with a setting of the delicate green which repeats the chromatic note of Niagara Falls."— Ernest Knaufft. The colors as applied to the principal buildings were described as follows: 21 22 • Horticulture—orange with details in brilliant blue, green, rose and yellow. • Government—yellow, with details in primitive colors. • Temple of Music—red. • Machinery—greenish gray. • Restaurant group—ivory, accentedwithgreen and gold. • Electric Tower—ivory, yellow, gold and green. • The roofs are generally of red tile, though prominent towers and pinnacles are in many cases decorated with green, blue green or gold. • All buildings have a play of color about their entrances, balconies, pinnacles and towers. The Pan-American Exposition was not the first exposition to use color in its architecture, but “it was the first attempt to completely unite a color scheme with Watercolor Sketch of the Tower Entrance, Electricity Building. Artist : C.Y. Turner.Source: The Delineator, v. 58, no. 1 (July 1901) p. 79. the structures in an overall visual impression of meshed coloring.”23 The vibrant color scheme led to the Exposition being labeled as "The Rainbow City." Although most visitors seemingly approved of the vibrant coloring, it provoked from contemporary critics reactions "ranging from cautious approval to hoots of derision.... The polychrome experiment looked unsettling and raucous to contemporary eyes blinded by the dazzling purity of the �"White City" [1894 Chicago World's Fair.] In the light of expectations generated by the earlier fair, the planners of the Pan-American were courageous to adopt such a novel color scheme."24 Grounds at Twilight -- Pan-American Exposition, Buffalo, 1901. Artist : Undetermined. Source: From a postcard produced by the Gray Lithograph Company and printed by the Niagara Envelope Manufcturing Company, Buffalo, N.Y. c1901. Courtesy of Kerry S. Grant. This same color scheme, the subject of controversy and conflicting opinions among critics, was viewed quite differently as a component of the Expositions nighttime illumination. In fact the illumination itself and the embellishing effects of the color scheme were almost universally applauded by critics: … [T]wilight is, next to illuminated night, the enchanted hour at the Exposition... [W]hen the dimming of the low lights about you warns that the climax of the Exposition day has come, go down to where the great bridge meets the Esplanade and keep your eyes on the Electric Tower. Faintly the rose-pink color flushes the side of the tall shaft. The light of the elevator drops twinkling like a falling star through the grillwork of the tower, The rose deepens and deepens on tower and dome and pinnacle, and then while the throng on the Esplanade holds its breath the light slowly rises to the brightness of the sun but without the glare, the softness of the moon without its coldness. A wonderful pure, soft radiance falls over the air, a radiance which brings out every subtle harmony of color, every detail of fretted architecture, and, behold, that new wonder of the world-the Pan-American night-is born.25 �"Electric Tower - Pan-American Exposition, 1901". Artist : Undetermined. Source: From a postcard produced by the Gray Lithograph Company and printed by the Niagara Envelope Manufcturing Company, Buffalo, N.Y. c1901. Courtesy of Kerry S. Grant. ... [H]e who would visit the exposition at the most opportune time would do well to behold it first at night, and his station point should be not at the Propylaea entrance, but at the southern end of the grounds, where, standing near "French's Washington," he may look northward over the Triumphal Causeway between the great pylons toward the Electrical Tower. Here he will see a unique and imposing sight, that outdoes Chicago, Nashville, Atlanta, Omaha,-a sight the world has never seen before. At 8 o'clock the ivory city lies half-veiled in the dusk, when suddenly, but gradually, on every cornice, every column, every dome, break forth tiny pink buds of light as though some eastern magician were commanding a Sultan's garden to bloom. A moment more, and the pink lights glow larger and take on a saffron hue, and the whole exposition lies before us illumined by 500,000 electric flames (the eight-candle power incandescent light which Mr. Edison, who developed it, has proclaimed his pet)-and these delicate lights, some single, some bunched, bring out a thousand delicate tints, now playing hide and seek and many cartouches, terminals, and arabesques, now Rembrandting the stucco reliefs, and delicately toning down the color, till the effect is strikingly allegro.26 �Of course, the thoughts of Ellen Arnold, an Exposition visitor from Connecticut, sum up what seemed to be the prevailing opinion of critics and visitors alike,27 "The illumination was something more than wonderful – indescribable –" General View of Illuminated Exposition Buildings From the West, Taken From Outside the Grounds. Photographer : Undetermined. Source: Over 100 Views Showing the Grandeur of the Pan-American Exposition, Buffalo, New York--1901. Buffalo, N. Y.: Chas. J. Shults & Co., 1901, p. 40. References 1. John M. Carrère, "The Architectural Scheme," Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901, p. 10. See also Joann M. Thompson. The Art and Architecture of the Pan-American Exposition, Buffalo, New York, 1901. Unpublished dissertation. Rutgers University, the State University of New Jersey, 1980, p. 31 and Kerry S. Grant, The Rainbow City: Celebrating Light, Color and Architecture at the Pan-American Exposition, Buffalo, 1901. Buffalo, N. Y.: Canisius College Press, 2001, p. 10. 2. Carrère, p. 15-16. 3. Christian Brinton, "Art at the Pan-American Exposition," The Critic, v. 38 (June 1901) p. 512 and Walter Cook, "The Exhibition at Buffalo: Some of the Ideas Which Have Determined its Artistic Character — the Buildings and Grounds," Scribner's Magazine, v. 29 (June 1901) p. 765; in Thompson, p. 31. 4. Thompson, p. 31. The "City Beautiful Movement" was a reaction to the increasingly grimy and industrial nature of 19th century cities. City Beautiful proponants called for a harmonious environment characterized by a paradigmatic arrangement of buildings, open garden spaces and controlled traffic paths. John Brisben Walker wrote of the Pan-American Exposition as a model for the city of the future. See Walker's "The City of the Future— A Prophecy," The Cosmopolitan, v. 31, no. 5 (September, 1901) pp. 473-475. For an informative look at the "City �Beautiful Movement" and Washington, D.C.'s example, see Julie K. Rose's City Beautiful: the 1901 Plan for Washington D.C. , URL: http://xroads.virginia.edu/~cap/citybeautiful/dchome.html. 5. Carrère, p. 15-16. 6. Grant, p. 19. 7. Carrère, p. 15. 8. Thompson, p. 32; Grant, p. 19. 9. Grant, p. 12. 10. Karl Bitter, "The Sculpture Plan," Art Handbook, 1901, pp. 49-50. 11. Thompson, p. 35. 12. Bitter, p. 50. 13. C.Y. Turner, "The Color Scheme," Art Handbook, p. 20; Grant, p. 13. 14. Pan-American Exposition, Buffalo May 1 to November 1, 1901. Its Purpose and Plan. [Buffalo, N. Y. : The Pan­ American Exposition Company], 1901, p. 28. 15. John G. Milburn, "The Purposes of the Exposition," Art Handbook, p. 7. 16. Julian Hawthorne, "Some Novelties at the Buffalo Fair," The Cosmopolitan, v. 31, no. 5, (September, 1901) p. 485. 17. Pan-American Exposition, Buffalo May 1 to November 1, 1901. Its Purpose and Plan. p. 30; Joanna Wood refers to the style as "American Renaissance" in "My Personal View," The Criterion, May 19, 1901, p. 12. In "The Pan­ American on Dedication Day," The American Monthly Review of Reviews, v. 23, no. 137 (June 1901), William Hotchkiss describes the architecture as "romantic and picturesque" using the term "Free Renaissance" to describe the buildings' bracketed eves, airy pinnacles, grilled windows, open loggias, square towers, fantastic pilasters and tile roofs. C.Y. Turner, Director of Color, wrote, “… the Spanish Renaissance was in the minds of most of [the Board of Architects] the most suitable style. At a later period, this was changed to Free Renaissance, which, of course, permitted the introduction of Italian, German and French Renaissance,” in “Organization as Applied to Art,” The Cosmopolitan, v.31 no.5 (September 1901) p.493; Also using this term is Kerry S. Grant, who offers detailed descriptions of the style and coloring of individual buildings in The Rainbow City: Celebrating Light, Color and Architecture at the Pan-American Exposition, Buffalo, 1901. Buffalo, N. Y.: Canisius College Press, 2001. Finally, see Joann Thompson's dissertation, The Art and Architecture of the Pan-American Exposition, Buffalo, New York, 1901, (Rutgers University, the State University of New Jersey, 1980) where the terms used to describe the architecture at the Pan-American Exposition include"quasi Spanish style," "free-form Spanish- oriented structures" and "fantasy buildings of a freely interpreted Spanish style." 18. Carrère, p. 12. 19. Turner, p. 20. 20. The Pan-American Exposition and How to See It : A Complete Art Souvenir, ed. Mark Bennett, Buffalo, NY : Goff Company, 1901, [pp. 9-10.] 21. 21. Ernest Knaufft. "Artistic Effects of the Pan-American Exposition." The American Monthly Review of Reviews, v.23, no.137 (June 1901) p. 689. In a lecture by Barbara Seals Nevergold and Peggy Brooks-Bertram, founders of the Uncrowned Queens Project, it was suggested that Turner's color scheme may have also been analogous to prevalent attitudes regarding race and the relationship of "white" America to its African- and Native-American populations as well as its "darker" and "subordinate" Central and South American neighbors. Darker, cruder colors (or skin) were viewed as savage, primitive and, as Knaufft states, "barbarian" whereas with progress, evolution and civilization, man grew to be represented by colors that were lighter, pastel-like and more subtle—in essence, �"whiter." While there is no direct evidence to show that the use of color to convey this attitude was a conscious decision of Turner or the Exposition planners, the larger societal tendency to equate dark to "primitive" and light to "civilized," must not be discounted. From a lecture presented on"The Role and Representation of African Americans and Persons of Color in the Pan-American Exposition. Presented at the University Archives, University at Buffalo, The State University of New York, Buffalo, NY, July 12, 2001. More information on this topic may be found in the history section of the Uncrowned Queens web site, URL: http://wings.buffalo.edu/uncrownedqueens/files/history.htm. 22. Bennett, [p. 10.] 23. Thompson, p. 86. 24. Ibid., pp. 79, 85. Also see Grant, pp. 113-116 and Thomas Leary and Elisabeth Sholes, Buffalo's Pan-American Exposition, Charleston, SC : Arcadia Publishing, 1998, pp. 27-46. Katherine V. McHenry wrote in the June 1901 issue of Brush and Pencil, "Whatever be the popular verdict, whether the consensus of opinion be in favor of a monochrome scheme, such as was employed at Chicago in 1893, or of a varied, symbolic scheme, such as prevails in the Pan-American, it is to the credit of the promoters of this latter exposition that they had the hardihood to undertake what former exposition managers feared to attempt, and the ability to carry it out to a successful issue," (p.156). 25. Mary Bronson Harrt, "How to See the Pan-American Exposition," Everybody's Magazine, v.5, no.26 (October 1901.) The full text of Harrt's article is available on Sue Eck's "Doing the Pan..." 26. Knaufft, p. 687. 27. Ellen Arnold, in a letter to her sister Hannah Allen of Putnam, Conn., September 12, 1901. Private collection. Courtesy of Brenda Battleson. �The Exposition Buildings When David Gray, editor of the Art Hand-Book1, was compiling descriptive information for the buildings of the Pan­ American Exposition, he sought out the architects themselves: "The descriptions of the chief buildings of the Pan-American Exposition have been written for the Art Hand-Book (except in a few instances) by the architects that designed them. It is felt by the Editor, therefore, that they may be presented as accurate and official descriptions of the Exposition architecture.— Editor." Each of the following pages begins with such descriptions as published in the Art Hand-book. Additional material, including third-party descriptions, criticism, detailed renderings and photographic images will follow. • Pylons of Triumphal Causeway • The Restaurant Buildings And Arcades • The Curved Pergolas • The Stadium • The Esplanade Band Stands • The Propylæa • The Government Building • The Electricity Building • The Ethnology Building • The Bazaar Building • The Terraces • The Acetylene Building • Manufactures And Liberal Arts Building • The Machinery Building • Pergola Buildings • The Temple of Music • Agricultural Building • The Horticultural Group • The Electric Tower • The New York State Building • The Old Spanish Mission • The Fire-Proof Art Building • The Plaza • State, Foreign, And Auxiliary Buildings Birdseye View of the Pan­ American Exposition. Artist: Rendering by Harry Fenn after drawings by Carrère and Hastings Source: Kerry S. Grant. The Rainbow City: Celebrating Light, Color, and Architecture at the Pan-American Exposition, Buffalo, 1901. Image from the collection of the Buffalo and Erie Country Historical Society. �Related Maps Building Map of the Pan-American Exposition. Artist: Rendering by Murray Smith? Source: Published by Orvis and Smith, 1901. From the collection of the Buffalo and Erie Country Historical Society. Plan of the Pan-American Exposition to be Held at Buffalo, New York, May 1-Nov 1, 1901. Artist: Rendering by C. E. Peltz. Source: From the collection of the University Archives, University at Buffalo Reference 1 .Art Handbook, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. �Pylons of Triumphal Causeway1 By John M. Carrer of Carrère and Hastings The architectural purpose of the Triumphal Causeway is to balance the Electric Tower and to establish an entrance-portal to the great courts of the Exposition proper. As a gateway from the natural landscape of the park into the formal scheme of the Exposition it was desirable that it should have both the elements of dignity and exposition gaiety. The four Pylons are monumental in size, being 40 by 50 feet, and in color suggest stone. From the water-level to the base of the equestrian figures it is 116 feet. The avenue between them is 140 feet wide, the center line of which is the main axis of the Exposition, with the Electric Tower at one end and the statue of General Washington at the other. The sculpture which decorates the Pylons carries out the idea of national power and glory welcoming the world to the Exposition. The garlands of shields and the colored flags which festoon them lend an air of gaiety, and subtly suggest the idea of the draw-bridge leading from the natural outer park to the beauties in the creation of which man has been the chief factor. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Curved Pergolas1 By John M. Carrer of Carrère and Hastings These structures curve from the Triumphal Causeway to the eastward and westward, tending to connect the Pylons with the Esplanades and to unify the architectural composition of the whole plan. They were designed to provide covered shelters for the visitors, and are an adaptation of the Pompeiian trellis, but on a larger scale and more elaborate. Double rows of columns make a wide nave and two side aisles with a pediment at either end. The side aisles are divided into bays, thus forming retired places for the visitors to sit and listen to the music on the Esplanades, and watch the gondolas on the water of the East and West lakes. Since being designed these buildings have been converted into open-air restaurants. They are gay in color treatment and suggestive of the exposition spirit. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Esplanade Band Stands1 By J. M. Lyall At the Architectural Bureau on the Exposition grounds a number of clever and able young designers were employed, some of them being ex-students of the École des Beaux Arts of Paris, and it was decided to give them some opportunity for individual expression in some of the minor constructions about the grounds, so that a system of competitions was instituted for designers for some of these things, among others, for the Esplanade band stands. The design executed was the work of Mr. J. M. Lyall of New York. It is thoroughly original in form and very expressive of its purpose, with its four great sounding-boards under the domed roofs and the gay and festive character of its flowery detail. Another of these competitions was for the bridge at the south end of the Venice Canal. This was the work of Mr. Frere Champney, also of New York. References 1 . Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Government Building1 From The United States Government Officers J. Knox Taylor, Superintendent This building more than any other on the grounds is Spanish-American in its architecture, directly suggesting the type of the Mexican church. It closely resembles the great Cathedral of the City of Mexico. The treatment of the columns in the portico shows the influence of the modern French spirit, and the quadriga on the dome, as well as the general form of the building, which is distinctly that of an exposition building, prevents it from being a misapplied copy. The ground-plan is the same as that of the Horticultural Group of buildings opposite, both of which were agreed upon when the plan of the grounds was laid out. It consists of a large center building with dome and two flanking square pavilions connecting with each center building by semicircular arcades. The large center mass is made picturesque by numerous small towers and gilded domes and the use of picturesque Mexican gables at the north and south ends. The stately portico fronting on the Esplanade is not only impressive in its composition, but pleasantly suggestive of the United States Capitol at Washington, a suggestion which the public of America has come to look for in every building representing the national government. References 1 . Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Ethnology Building1 By George Cary The character of this building is classic in outline, with Renaissance decorative treatment. It is situated at the eastern junction of the Grand Esplanade and the Court of Fountains. The building is circular in plan, with the main entrances on the diagonal axis; between and connecting these is a continuous colonnade with a decorative frieze over the windows. The colonnade is raised some seven feet above the level of the Grand Esplanade, giving a covered portico or loggia commanding a pleasing view. Surmounting this colonnade is a terrace, with balustrade decorated with Martiny's "Torch-Bearer. "Over each entrance is a pediment containing McNeil's ethnological group, forming the decorative motive of the tympanum, and back of and above each pediment is Phimister Proctor's "Quadriga," made by him for the United States Government Building at the Paris Exposition of 1900. The building is covered by a dome like that of the Pantheon at Rome. The dome of the Ethnology Building is capped by a decorative cresting, the highest point being 150 feet. Hidden by the cresting is the skylight opening which lights the interior. Surrounding the dome, in eight of the sixteen panels, are eagles measuring 16 feet over all, and below these are eight circular windows in the encircling shaft, lighting the upper gallery. Surmounting each of these windows, and standing below the eagles, is Brewster's ethnological group, described elsewhere. The building covers about 20,000 square feet. There are two octagonal galleries, the first one being 25 feet above the floor, and the second one 21 feet above that. These galleries and the roof terrace are made accessible by staircases located at the side of each entrance. The eight decorated piers of the interior support eight arches, forming the octagon which, with the pendatives, carries the dome. The galleries encircle the octagon, leaving all open space under the dome 80 feet in diameter and 120 feet in height. Inscriptions For Ethnology Building. • I. "Knowledge Begins In Wonder."—Plato, Aristotle, Langley. • II. "Speak To The Earth, And It Shall Teach Thee."—Job xii, 8 • III. "Nothing That Is Human Is Alien To Me."— Terence. • IV. "And Hath Made Of One Blood All Nations Of Men."—Acts xvii, 26. • V. "What a Piece Of Work is a Man!"—Shakspere, Hamlet, ii. 2. • VI. "All Are Needed By Each One."—Emerson, Each and All. • VII. "The Weakest Among Us Has a Gift."—Ruskin. • VIII. "No Se Gano' Zamora En Una Hora."—Cervantes, part ii. chap. lxxi. • IX. "O rich and various Man! thou palace of sight and sound, carrying in thy senses the morning and the night and the unfathomable galaxy; in thy brain, the geometry of the City of God; in thy heart, the bower of love and the realms of right and wrong." �References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Terraces1 By John M. Carrer of Carrère and Hastings These are four terraces running north and south on either side of the Court of Lilies and the Court of Cypresses. They were erected not only to form these retired courts and provide easy passageways from one building to another, but also to furnish elevated resting-places as points of vantage from which the public might view the illuminations and fountain effects. They were inspired by the famous architectural treatment of the lake at the Parc Monceau, Paris. The row of gaines, executed by Professor L. Amateis, which bear the trellis, is, however, a new feature. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �Manufactures and Liberal Arts Building1 By George F. Shepley, of Shepley, Rutan & Coolidge The Manufactures and Liberal Arts Building occupies a space 350 by 500 feet, with a courtyard in the center 132 by 170 feet. A cloister extends around the interior of this courtyard, and it was intended to place in the center a fountain surrounded by statues and ornamental trees; but after the building was completed it was found necessary to roof the courtyard over in order to provide more space for exhibits. The south or principal front of the building, which is 500 feet long, faces the Court of the Cypresses. In the center of this front is placed the principal feature of the building, which is a great dome rising to a height of 130 feet, surrounded by four towers. At the corners of the building are pavilions surmounted with smaller domes. The west façade, toward the Court of the Fountains, is kept simple and low in order to give greater value to the Electric Tower at the end of the Court of Fountains. A little more prominence is given to the front on the Mall, where the entrance is under a pediment some 96 feet in height, which is surmounted by winged figures. The east front, which faces the Canal, is treated in a similar manner to the west front. The building is entered from the center of all four sides, and also from the pavilions on the corners. An arcaded loggia, with a groined ceiling, extends around the building on all sides and gives a convenient resting-place sheltered from the sun and rain. The treatment of the exterior is a free treatment of Spanish Renaissance, the idea being to give, by means of color and decoration, an expression of gaiety and lightness as far removed as possible from the serious buildings of other exhibitions held in this country. The cornice is formed by the rafters of the roof projecting over, and is treated richly with color and carving. On the front of the building, between the arches, are placed the seals of the governments of the various South American republics. Over the main entrance is a group of statuary typifying the Arts and Manufactures. This group and the winged figures over the entrance on the Mall are by Mr. Bela Pratt of Boston. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �Pergola Buildings1 By John M. Carrer, of Carrère and Hastings In the four Pergola Buildings of the Exposition a unique treatment has been applied, making a structure of heavy character look light and arbor-like from the exterior. This effect has been secured by trellis verandas on the front and back. The Pergola Buildings are adapted to serve either as exhibit buildings or as restaurants. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �Agriculture Building1 By George F. Shepley, of Shepley, Rutan & Coolidge The Agricultural Building is situated at the east of the Electric Tower, the narrow front, 150 feet in length, facing the Court of Fountains, and the principal front, 500 feet in length, on the Mall. This building is treated with great simplicity and very few features. The principal entrance is toward the Mall, facing the Manufactures and Liberal Arts Building. Around this entrance is the greatest amount of enrichment. The decorations are designed with fruit, vegetables, and flowers, expressing the character of the building; and the large corbels are in the form of heads of animals of the field. This idea is carried around in the decorations of the cornice. There is a loggia on the south side of the building, overlooking the Mall, formed of arches resting on single columns, with a ceiling of groined vaulting. The treatment of the exterior, like that of the Manufactures and Liberal Arts Building, designed by the same architect, is Spanish Renaissance, adapted to express a spirit of exposition gaiety. �References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Electric Tower1 By John Galen Howard Every artistic composition, whether it be a picture, a piece of sculpture, or a group of buildings, can be said to have a focus-some Point or dominant feature which serves as a resting-place for the eye. The Electric Tower, by reason of its height and its central position, is such a focus in the midst of the main group of buildings of the Pan­ American Exposition. Since this may be called the Age of Electricity, it was fitting that the focal point of the Exposition should be so designed as to afford an opportunity of accentuating that fact by a lavish display of electric power. This display is in the form of a majestic fountain and a scheme of brilliant illumination. The source of the power is Niagara, and this is suggested not alone by the fountain and the basin at the base of the tower, but by various groups of statuary in the wings, which have been designed to symbolize the great bodies of water which are tributary to the stupendous cataract. The following groups occupy the niches at the extreme ends of the curved wings, and are arranged from west to east in order: Lake Michigan, by Mr. Louis A. Gudebrod; Lake Superior, by Mr. Philip Martiny; Lake Ontario, by Mr. Ralph Goddard; Lake St. Clair, by Mr. Henry Baerer; Lake Huron, by Mr. Philip Martiny; Lake Erie, by Mr. Carl E. Tefft. The spandrels of the niche in the south face of the tower and the smaller ones above the arch of entrance on the north side were modeled by Mr. Adolph A. Weinman, under the direction of Mr. Karl Bitter. They represent the four rivers Niagara, Buffalo, St. Lawrence, and St. Clair. The keystones of these arches were modeled by the same sculptor. Another feature of the sculptural embellishment of the tower which deserves special note is the Pan-American escutcheon on the south front of the shaft of the tower, above the water niche. This was modeled by Mr. Philip Martiny and Mr. Michele Giusti. Mr. Martiny was also the sculptor of the torch-bearers crowning the four corners of the terminal pavilions, and of the groups typifying Progress which embellish the pyramidal pylons on the east, west, and north sides of the tower. The groups ornamenting the pylons on the south side adjoining the water niche were modeled by Mr. George Gray Barnard, and typify "The Great Waters in the Time of the Indian" and "The Great Waters in the Time of the White Man." The frieze with children, garlands of fruit, and eagles, beneath the loggia at the top of the shaft, was executed by Mr. Karl Bitter. The Goddess of Light which crowns the tower is the design of Mr. Herbert Adams, and is 16 feet in height. The total height of the tower is 389 feet. The shaft of the tower is 77 ½ feet square at the base and is built with steel framework, the walls being of staff. The colonnades which form the curved wings at the sides of the tower have an extreme width of 255 feet. The promenades on these colonnades afford a fine view of the court and the other main buildings. If one approaches the tower from the north, he may cross a bridge, enter, and take an elevator to the lantern at a level of 252 feet, which commands a superb outlook of the Exposition and the surrounding country. Aside from its function as an observatory, the interior of the tower is made of service to the people by means of restaurants. As regards the architectural design of the Electric Tower, it may be called essentially American. As in the other buildings, use has here been made of classic and Renaissance forms, and certain "influences" may perhaps be pointed out by the critic; but the tower cannot be said to have been designed in any strictly defined traditional "style." It shows the trend of thought in this country, and may be taken as an example of modern American architecture. �References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Old Spanish Mission1 By John Galen Howard This reproduction of an old Spanish mission is situated south of the Stadium and directly northeast of the northeastern turn of the environing Canal. It is built in the style of the old Spanish missions, the east wing being almost a reproduction of the Mission of Santa Barbara, California. A chapel, cloisters, courts, and a shop, arranged about a garden on the banks of the Canal, compose the group, the walls stained with age, and the tiled roof green with moss. A low, heavy tower with tiled dome, the walls thick and low, with window openings grilled with heavy wooden bars, suggest Father Salvierderra in "Ramona" and the abode of the Franciscan monks of to-day. Fully in keeping is the lavishly planted garden, picturesque in its pointed cedars, its cocoanut- trees, palms, and plants imported from the tropics, while a fountain graces the center, about which are grouped marble columns Supporting branching beams, on which are perched gay-plumaged parrots and macaws. Entering from the dike-walk on the Canal side, and passing through the arch under the tower, this garden is reached. Shut out at once from all the stir and whirl of the Exposition, surrounded by flowers and brilliantly colored birds, and the green of tropical trees, one is in some measure prepared for the quiet pictures within the building. To the west of the garden the shop is entered, with walls wainscoted with patterns in the style of old Cordova leathers, and hung with scenery papers suggesting a landscape of forests and distant mountains. The chapel, wainscoted with marble and rich with columns of mosaic and marble, serves as a fitting frame for the beautiful windows of the Leland Stanford Junior University of California, which is built in the mission style of architecture. These windows were executed in an artist's studio in New York, and were to be placed this summer; but Mrs. Stanford has permitted their exhibition here before installing them in the university building. Looking through the archways south of the garden, a cloistered court is seen, about which implements of the farm are picturesquely arranged, suggesting the early monastic days when the brothers of the mission tilled the land, and worked in the shops among brilliant colors and artistic surroundings, with music and flowers and gardens to make their day's labor a pleasure, and their life one of peace and quiet and repose. And over all hangs the bell, whose story, so well told by Bessie Chandler, would seem to bring the legend home to us to-day. The Two Bells Long years ago, so runs the ancient story, Two bells were sent from Spain to that far clime New found beyond the sea, that, to God's glory, And in his house, together they might chime. �2 And to this day one bell is safely swinging Within its shelt'ring tower, where, clear and free, It hallows each day with its mellow ringing. The other bell, the mate, was lost at sea. 3 And when in gentle chimes the bell is pealing, The people listen; for they say they hear An echo from the distant ocean stealing: It is the lost one's answer, faint, yet clear. Bessie Chandler. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Plaza1 By Walter Cook, of Babb, Cook & Willard The square to which the name of the Plaza has been given is a nearly isolated unit of the general composition, being situated at its extreme north end, on a somewhat lower level than the parts immediately touching it. For this reason, and on account of the very intimate connection between the buildings and the square which they surround, the entire treatment of both buildings and grounds was put in the same hands- the one exception to the general rule which prevailed elsewhere. The Electrical Tower of Mr. Howard, which dominates, and was meant to dominate, the whole scheme, terminates the Plaza on the south side. The other buildings have purposely been kept somewhat smaller in scale and less monumental in character, in order to give to the tower its full value. And as the tower on the southside faces the Court of Fountains, in which water is the great feature, the Plaza itself has been treated without basins or fountains, in order to secure a contrast of treatment. The middle of the square is occupied by a Sunken Garden, surrounded by a double balustrade inclosing a terrace from which steps descend to the garden itself, the center of which is occupied by a band-stand. The four corners of the terrace are occupied by pavilions, which are intended to be let to concessionaires. The whole is intended to form a resting-place for visitors out of the direct line of communication. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Restaurant Buildings and Arcades1 By Walter Cook, of Babb, Cook & Willard On either side or the square are buildings closely resembling one an- other, and having a double use. The lower part of each is largely an open arcade, forming the entrance on the one side to the Midway, and on the other to the Stadium. The remainder of these buildings serve as restaurants. The style of architecture adopted in these buildings is freely reminiscent of Spanish examples, and of their descendants in Spanish America, while no single building bas been taken as a prototype. The character of the exhibition, in which only the Americas are represented, naturally suggested this inspiration, which is indeed evident in many other parts of the grounds. And it is this character which suggested calling the little square the Plaza. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Stadium1 By Walter Cook, of Babb, Cook & Willard In the mass of this amphitheater a great simplicity of style has been followed. The exterior is a series of columns with arches between; the seats in the interior back up against this arcade, and are terminated by a sort of attic, forming a promenade around the entire building, covered with gaily colored awnings and decorated with flags. On the east the Colonnade becomes an open screen, giving a view through it to the fields beyond, and with openings, each of which is provided with a portcullis. When these are open they afford entrance to the various cavalcades or processions which are to give representations during the Exposition. On the west end is the main entrance, and above this the tribune, in which the seats are covered by a roof. This feature contains the festal part of the Stadium; the forms are light, representing in part bronze (while those in the Stadium proper are stone forms), and here the greatest amount of color and decoration has been used, the general idea being to accent this motive and make it contrast by its gaiety with the comparative simplicity of the rest of the building. The dimensions of the Stadium are, length, about 680 feet, and width, 450 feet. The arena has been laid out to obtain a quarter-mile running-track. Its extreme dimensions are about 569 feet in length and 260 feet in width. The seating capacity is about 12,000. It is intended to reproduce the spirit of the Pan-Athenaic Stadium cut in the side of Mount Pentelicus, near Athens. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Propylæa1 By Walter Cook, of Babb, Cook & Willard The north side of the Plaza is occupied by a colonnade surmounted by a sort of pergola with green vines and flanked by two large archways giving access from the railroad station. This structure, to which the name of the Propylæa has been given, forms the northerly end of the whole architectural composition of the Exposition. It is treated in a very free style, as regards the two archways especially, and seeks above all to manifest the Exposition character and be a gay festival entrance to a great fair. In the buildings themselves but little statuary has been used; on the other hand, both statues and vases are employed freely in the treatment of the balustrades, and under the colonnade of the Propylæa. The visitors to the Stadium pass under the arcade of the building on the east side of the Plaza, traverse a small open-air vestibule defined by balustrades, and enter the Stadium itself. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Electricity Building1 By Green & Wicks In style and spirit the Electricity Building is similar to the Machinery Building, by the same architects. The endeavor has been made to adapt the Spanish mission style of building, together with Renaissance features, to the purposes of the modern exposition and to add to it an air of gaiety and color. The architectural features of the Electricity Building recur in the Machinery Building, and are set forth under that head. The Electricity Building is 500 feet in length, 150 feet in width, and 160 feet in height. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Bazaar Building1 By William Welles Bosworth Situated beyond the Canal at the junction of the Mall and the Midway, and fronting on the Midway, was the only large building outside the main scheme which was built by the Exposition Company. Destined for the exhibit and sale of all sorts of bijoux and souvenirs, the character of the design was studied to express a gaiety and "laisser aller" spirit consistent with the uses of the building. To express this spirit no style in the history of architecture is so well adapted as that of the French trellis-decorated buildings of the epoch of Louis xv, though it is dangerous when not used with restraint, being the expression of a generation renowned for moral decadence. When used as in this instance, where it is merely applied as surface decoration to a building composed with strong structural masses of wall surfaces in their relation to openings and great simplicity of architectural line and silhouette, it has great charm. The groups of children surmounting the balustrade, as well as the decorative bronzed figures in the niches between the windows, are the work of the sculptor Isidore Konti. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Acetylene Building1 William Welles Bosworth The Acetylene Building, situated on the Mall at the west of the Machinery Building and across the Canal, was built by the Exposition Company for the exhibits of the acetylene industry. Just opposite from the Bazaar Building, it shows an interesting contrast in architectural style. The main structural elements are equally simple and frank; ample openings for light give it the museum or exhibit-building character, while the seriousness of the nature of its exhibits is expressed by the reserve with which the ornament is applied in well-defined architectural limits, and the particular nature of the exhibits is made evident to the careful observer in the symbolism of the ornaments themselves. The evolution of lighting methods is worked out in the ornaments around the windows, from the fire brand below up through the candle and classic lamp to the acetylene burner at the top, while above the cornice are groups of children holding acetylene torches which light the globe by M. Loester.1 The Acetylene Building. Photographer: Undetermined. Source: Cosmopolitan, v. 31, no. 5 (September 1901) p. 472. �To exhibit and promote the benefits of commercial and domestic use of acetylene gas over traditional fuels, a stand-alone building was constructed opposite the Bazaar Building, just west of the Electricity and Machinery Buildings. The Acelylene Building held exhibits by the Union Carbide company, which distributed the pamplet "The Story of Acetylene." References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Machinery Building1 By Green & Wicks In considering a style of architecture for the Machinery Building the thought impressed itself of the fundamental idea of the Exposition - Pan-American: that is, a style expressive of "all the Americas." The logical thing to do, therefore, was to adopt the Spanish-American Renaissance, the typical style of architecture of this continent. It is a style that lends itself readily to exposition buildings, for it is not too serious and can readily be made gay and expressive of the exposition spirit. The mission building is the product of that period in Mexico and Lower California when the Jesuits and Franciscan friars practically ruled the country. They built many of these low, comfortable, arcaded, cloister-like structures. The early types, however, are too somber, though well suited, with their great covering-space, low roofs, and cool arcades, for exposition buildings. The style needs enlivenment, ornament, and color. These qualities have been taken from later and more pretentious Spanish buildings. The Machinery Building was built around a court intended to be the chief feature of the building, as it was in the old Spanish structures, their peculiar charm being due to this quiet, retired court, with its flowers and pools of water. The court, however, in this case has been taken for exposition purposes, owing to the demand for greater space by exhibitors. The façade of the building presents an arcaded, cloister-like appearance, the oak-timbered overhanging eaves producing the shadow. In the center of each face are placed the important entrances. On the north and south façade the entrances are flanked with towers, which form the most noticeable feature. The entrances between these towers are ornamented with single and double columns. They are flanked by arcades extending each way to the low corner pavilions. These are also used as entrances, and are ornamented in the manner of the Spanish Renaissance. The roofs are covered with the typical Spanish mission tile, and the window openings with copies of the wrought-iron work peculiar to the Spanish style of building. The Machinery Building is 500 feet long by 350 feet wide, and the highest towers are 170 feet in height. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Temple of Music1 Designed By Esenwein & Johnson The south front of the Temple of Music faces on the East Esplanade, the east front upon the Main Court. It corresponds on the general plan to the Ethnology Building, which occupies the corresponding position on the east side of the Main Court, and the motif of its design is similar. The ground-plan of the building is Square, being 150 feet on a side. It is surmounted by a dome 180 feet high, suggestive in proportions of the dome of the Pantheon at Rome. In treatment the building is highly ornate. It is profusely decorated with pilasters sculptured in relief, and over each of the four pediments is a sculptured group by Konti. The auditorium of the building seats twenty-two hundred people, and contains one of the largest organs built in the United States. The building is used for musical recitals and choruses. The Temple of Music also has the infamous distinction of being the building in which President William McKinley was shot by anarchist Leon Czolgosz on Sept. 6, 1901. �Temple of Music as seen Through the Colonnade. Photographer: Unidentified. Source: Pan­ American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901. Courtesy of Kerry S. Grant References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Horticultural Group1 Designed By R. S. Peabody, of Peabody & Stearns The Horticultural Group, so called, including the Horticultural Building and the Graphic Arts and Mines pavilions, corresponds in plan to the Government Group, and was designed to balance with it on the west end of the Esplanade. Its type of architecture is more suggestive of the buildings of northern Italy than of Spanish America. The loggias of the Graphic Arts and Mines pavilions are reproductions of the Villa Madonna at Rome, one of the most graceful of the productions of the Italian Renaissance. The modeling of the vaulted ceilings of these loggias is remarkably fine for exposition work, and the color treatment here is especially successful. In general composition the main building is formed on the plan of a Greek cross, with four huge arches on the principal axes and small octagonal pavilions filling in the corners. Above the whole rises a cupola, surmounted by an airy lantern. The entrance from the Esplanade is framed under an ample pediment ornamented with rich decorations in relief, and, picked out in color like the majolica work of Italy, it forms a beautiful background to the Fountain of Nature. The extreme height of the building is 240 feet. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The New York State Building1 By George Cary The New York State Building is situated on the north side of the west bay of the park lake, near the Elmwood Avenue entrance. Used as the New York State Building during the Exposition, it is to remain afterward a permanent building for the Buffalo Historical Society. The building is of white Vermont marble, in the classic order of architecture known as the Greek Doric, being of the same order as the Parthenon at Athens, by Pericles. This would seem best to harmonize with the Albright Art Gallery on the opposite side of the water, designed in the spirit of the Erechtheum, which stands with the Parthenon on the Acropolis. The Greek Doric is suggestive of solidity and force, has little carving, and its lines are all curved slightly upward. As exhibited in the monuments of the age of Pericles at Athens, the Greek Doric combines with solidity and force the most subtle and delicate refinement of outlines and proportions that architecture has known. The building is a rectangle about 120 x 80 feet, and 50 feet high. On the north front is located the statue "Aspiration," by Mrs. Harry Paine Whitney. The northern façade is faced with three-quarter columns, and the entrance is through a vestibule, the bronze doors of which were the gift of the president of the Buffalo Historical Society, Mr. Andrew Langdon. The panels in these doors, representing "History" and "Ethnology," are the work of Perry. On the south, dividing the paths leading to the park, are Andersen's equestrian groups called "Progress," and between these two on the axis of the building is Andersen's bronze group termed "Affinity." As the starting-point of the grand marble staircase leading up to the southern entrance stands Elwell's statue of "Intelligence," described elsewhere. The southern entrance is through a portico 61 x feet, embellished by ten Doric columns, and commanding a view of the park lake, the electric fountains, and the park. The floor-level is taken 7 feet above ground to the north, while to the south the grade is kept at the ground-level of the basement, so as to get good light, and to enter the bicycle-room and other rooms of the basement direct. The height of the basement is 14 feet. Here is the dining-room, facing the park to the south, the bicycle-room, kitchen, and janitor's quarters (entered from the hall and from outside), also boiler-rooms, etc., and the storage room to the west, under the audience-hall. The ground or first floor is 15 feet high. Here is the audience-hall, which seats 250 persons. The library occupies the eastern end of the building on this floor, and between the library and the audience-hall is the grand hall, stairway, and gallery. This grand hall, finished in black marble and gold, the largest room on this floor, may be given over to museum purposes, opening up into the upper floor to be used for larger relics. North of this grand hall is the lobby, giving access to the governor's room to the east, a committee-room to the west, to cloak-rooms and toilet-rooms, as well as an entrance to all the other rooms on this floor. The second floor runs up into the roof, making the rooms 18 feet high. It is lighted entirely by skylights, and will be used for museum purposes. �The building is absolutely fire-proof. It is planned to accommodate not only the ultimate needs of the Historical Society, but also the immediate needs of the Exposition. It is provided with a heating and ventilating plant, and is lighted by a thousand electric lights. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �The Fire-Proof Art Building1 By Green & Wicks The Art Building is built of rough red brick, of attractive color, laid in a wide joint. Its central architectural feature is the Statuary Court in the interior. The architectural details of the exterior are Spanish Renaissance, resembling those of the palace in Palma, on the island of Majorca. The cornice of the building is old brown oak. Surrounding the structure, at the level of the first floor, are niches containing antique statues. The Art Building is 220 feet in length, 105 feet in width, and 34 feet in height. This structure was erected to provide temporarily for the exhibits of fine arts when an unforeseen delay in securing the marble for the Albright Art Gallery made it impossible to complete that building in time for the Exposition. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. �State, Foreign, and Auxiliary Buildings1 The Forestry Building Designed by the Exposition Architectural Bureau. —The Forestry Building is situated northwest and adjacent to the Indian Mound, which is conspicuous in the southeastern corner of the Exposition grounds. It was intended to house the forestry exhibit in the south pavilion of the Horticultural Group, now known as the Mines Building, but a change in this plan was necessitated, and a separate structure was erected. The Forestry Building is built of logs in the manner of the settlers' log cabins. It is 150 feet long by 100 feet wide, and presents an interesting contrast with the complex and highly developed examples of architecture in the Main Court. Ohio State Building A low, gracefully proportioned building, with wide verandas, classic in treatment, designed by John Eisemann, Cleveland, Ohio. Illinois State Building A combination of the classic and Italian Renaissance styles, designed by J. M. White of Champaign, Illinois. Honduras Building A pavilion, Spanish in style, with cupola treatment of roof. Cuban Building Spanish Renaissance, with dome, designed by James Ackerman of Buffalo. �Chile Building Built of structural steel and closed in with glass, designed by C. I. Williams of Dayton, Ohio. Porto Rican Building A small pavilion of staff, with beams and ornamental timbers disclosed. Pennsylvania State Building An attractive structure, colonial in styles, with cupola, designed by the State Superintendent of Grounds and Buildings, Harrisburg, Pennsylvania. New England States Building This structure, representing the New England States combined, is a type of early New England colonial building, colored to give the effect of red brick and white marble. It was designed by Josephine W. Chapman of Boston, Massachusetts. Guatemalan Building A square frame structure, classic in treatment. Santo Domingo Building A small frame structure, painted in white and cream, designed by C. I. Williams of Dayton, Ohio. �Michican State Building A handsome structure, pure colonial in style, designed by George H. Barbour of Detroit, Michigan. New Jersey State Building A small structure, Spanish in treatment, designed by A. C. Jenkinson of Newark, New Jersey. Ecuador Building Noticeable by its high gable and Queen Anne style of outline, designed by James & Leo of New York City. Minnesota State Building Spanish Renaissance in treatment, designed by Dudley & Beardsley of Buffalo, New York. WISCONSIN STATE BUILDING Classic roof and Gothic treatment of windows and doorways, designed by A. C. Clas of Milwaukee, Wisconsin. Dakota State Building The striking feature of this building is a castellated tower, the remainder of the structure being accorded a Spanish treatment. �Mexican Building An attractive building of Spanish architecture. Knights Of The Maccabees Building A small but pleasant structure, Spanish Renaissance in style. A. O. U. W. Building Spanish in treatment, with second story open to serve as roof garden. Ordinance Building Spanish in treatment, designed by the United States Government Architectural Bureau, J. Knox Taylor, Superintendent. Dairy Building A reproduction of a Swiss chalet, designed by the Exposition Architectural Bureau. Service Building Spanish in style, designed by the Exposition Architectural Bureau. �Larkin Soap Building The main structure is classic in treatment, and is surmounted by a dome in the spirit of the Italian Renaissance, designed by Lansing & Beierl of Buffalo, New York. References 1. Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Visual Landscape of the Pan-American Exposition of 1901 Description An account of the resource Visual culture at the Pan-American Exposition was richly represented throughout the grounds, with the use of architecture and sculpture as well as artistic exhibits and galleries of fine art. Such visual exhibits were primarily the work of artists from the United States, although significant contributions were made by other "Pan-American" countries like Canada, Mexico and Chile. The Albright Art Gallery, building of marble designed to resemble the temples of Ancient Greece, was to be constructed on the Exposition grounds and was intended to house the Exhibit of Fine Arts. That it was not completed in time for the Exposition was not lost upon Exposition visitors, as this imposing building's construction was itself, an exhibit. Creator An entity primarily responsible for making the resource State University of New York at Buffalo. University Libraries Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Image Identifier An unambiguous reference to the resource within a given context pan-am-the-visual-landscape Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Exhibition buildings--New York (State)--Buffalo Exhibitions--New York (State)--Buffalo Architecture--New York (State)--Buffalo Exhibitions--Social aspects--New York (State)--Buffalo--History Pan-American Exposition (1901 : Buffalo, N.Y.) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/6babe552d06d8043cc18e01572085cee.pdf b724fb7e57865d8b2e18d6f6dae8a676 PDF Text Text Immigrant Communities of Buffalo and the Pan-American Exposition The immigrant1 settlements of Buffalo must have felt a particular interest in the PanAmerican Exposition, because they found both their countries of origin and the United States depicted in new and interesting ways. Because Buffalo was a major transportation hub in the 19th century and early 20th century, immigrants and their families made up a large and growing portion of the population. The participation of Buffalo's ethnic populations in the Pan-American Exposition varied. There were prominent citizens like Mayor Conrad Diehl, and George Urban, Jr., both of whom were sons of German immigrants, serving on the Exposition's Board of Directors. The more infamous Leon Czolgosz, who was of Polish descent and whose actions as the assassin of President William McKinley, deeply shamed and angered Buffalo's Polish community. Czolgosz was not a resident of Buffalo, but has certainly become linked to the city and the Exposition. Nina Morgana Less prominent but no less influential were the laborers who dug the canals and operated the railroads as well as those recruited to work in the concessions as waiters, entertainers, and other employees. One such employee, Nina Morgana, was the daughter of Italian immigrants to Buffalo, and as a child sang at the "Venice in America" exhibit. She would eventually go on to perform with the Metropolitan Opera. Many immigrants traveled to Buffalo in 1901, expressly to work in the exhibits and concessions on the Midway. Examples are the Bavarian brass band members at "Alt Nürnberg," and the gondoliers at the "Venice in America" concession. Although Buffalo was a relatively progressive city at the turn of the century, there is little question that these exhibits promoted the ethnic stereotypes typical of 1901 America. Exposition planners and promoters had little use for cultural sensitivity, since their exhibits were designed to draw crowds and make money. Thus, the "exotic" nature of various ethnic cultures and the stereotypical behavior of their employees was emphasized and encouraged. For many fairgoers, these "exhibits" were their first exposure to foreign culture.2 �This component of the online exhibit is limited to addressing four of the larger immigrant communities existing in Buffalo at the time of the Pan-American Exposition: • German • Italian • Polish • Irish Admittedly, the exhibit is heavily weighted toward participation of the more prominent members of these ethnic communities. For instance, the German-American population of Buffalo had become quite prominent in business and politics by 1901, so of course, there is quite a bit of information available. Other ethnic groups, Buffalo's Italian, Polish and Irish populations, still dominated the skilled and unskilled labor fields of the working class at the turn of the century. Certainly these groups were represented in some capacity at the Exposition, as builders, concession workers, police and firemen, etc. However, evidence and artifacts related to those who actually "worked" to build and operate the fair have not been as forthcoming. Indeed, readers with any such information are encouraged to contact this exhibit's Web Development Team since our research in this area is ongoing. Notes: 1. Buffalo as in many other cities, ethnic populations formed communities within communities, thus maintaining strong ties to many cultural and ethnic traditions. In this online exhibit, the term "immigrant" is not limited to those born in another country but includes multiple generations within a particular ethnic community. 2. There were dozens of cultures represented at the Exposition. Some, like the "Esquimaux Village" and "Beautiful Orient" were isolated to the midway. Other countries, like Mexico, had midway attractions as well as more culturally accurate representation in the Ethnology exhibits and Mexico's own commissioned building. It is unfortunate that we do not have the resources or information available to comprehensively exhibit information on all of these areas. We will, however update our listing of related links as more resources on cultural representation at the Pan-American Exposition become available. Related Resources • Cuba at the Pan-Am. Matthew Kirisits. Available online at UB and the Pan American Exposition, University at Buffalo. http://ubpanam.buffalo.edu/cuba/cuba.html. As of 2005, The above link is no longer live. Please refer to the archived version of Mr. Kirisits' work at http://web.archive.org/web/*/http://ubpanam.buffalo.edu/cuba/cuba.html �The German Community of Buffalo and the Pan-American Exposition German immigrants had been arriving in Buffalo in significant numbers since its early days with many becoming prosperous in areas of business and politics. By 1901 some of the leading entrepeneurs in the brewing, flour milling, tanning and meat-packing industries were first or second generation German-Americans. It is not surprising that many of these leaders were in some way involved in nearly all aspects of the Pan-American Exposition. • Buffalo's German-led Industry • Buffalo's German-American Leaders and the Pan-American Exposition • German Culture in 1901 Buffalo • Alt Nurnberg: German Culture on the Midway Buffalo's German-led Industry Buffalo's German population in 1901 included a number of very influential, often wealthy businessmen, many of whom attained prominance through the business dominated by Buffalo's German population throughout the 19th century--brewing. In the 1840's small plants had first been established by such Buffalo brewing pioneers Jacob Roos, J. F. Schanzlin and Hoffman, and Joseph Friedman. By the latter part of the nineteenth century, however, breweries with names like Germania, Magnus-Beck, Gerhard-Lang, and the German-American Brewing Company were successfully competing with their counterparts in cities like Milwaukee. In 1896, Buffalo's 19 breweries produced an output of 652,340 barrels. The majority of these companies were still managed by German­ American founders and/or their descendents. William Simon, Edward G. Becker, Alois and Philip Schaeffer, Charles Pankow, Christian Trapp, Col. John L. Schwarts--all were big names in the brewing industry who were also prominent Buffalo citizens. Advertisement for Maltosia. Produced by the German-American Brewing Company Source: Deutsch-Amerikanische Historische und Biographische Gesellschaft. Buffalo und sein Deutschtum : Deutsch- Amerikanische Historische und Biographische Gesellschaft. [Buffalo, N.Y.?] : Die Gesellschaft], 1911-1912. �Buffalo's brewers were major investors in the Pan-American Exposition as well. According to the Buffalo Commerical, by February 1, 1899, Buffalo brewers had purchased $55,800 in subscriptions of Pan-American Exposition stock. German-American Brewery. Photographer: Unidentified. Source: A History of the City of Buffalo : Its Men and Institutions : Biographical Sketches of Leading Citizens. Buffalo, N.Y. : Buffalo Evening News, 1908. p.135 The Magnus-Beck Brewery. Photographer: Unidentified. Source: A History of the City of Buffalo : Its Men and Institutions : Biographical Sketches of Leading Citizens. Buffalo, N.Y. : Buffalo Evening News, 1908. p.132. Of course, brewing was not the only area where Buffalo's german population excelled. By 1901 the city also boasted German-American leaders like Charles Fix (business & politics), Frank Snyder (trucking and cartage), Edward G. Becker (brewing & banking), George Zimmerman (lumber & banking) Christian Klinck and Jacob Dold (meatpacking), F.C.M. Lautz (soap), Jacob Schoellkopf and Sons (tanning, flour mills, hydro-electric power, brewing, banking, etc.), George Urban Jr. (flour mills, hydro-electric power), and Christian and Louis Stephen Kurtzmann (pianos). Conrad Diehl, the mayor of Buffalo in 1901, was also of German descent. The Kurtzmann Factories, Buffalo, N.Y. Source: Deutsch-Amerikanische Historische und Biographische Gesellschaft. Buffalo und sein Deutschtum : Deutsch- Amerikanische Historische und Biographische Gesellschaft. [Buffalo, N.Y.?] : Die Gesellschaft], 1911-1912. �Louis Stephen Kurtzmann, President of C. Kurtzmann & Co., Manufacturer of Pianos. Photographer: Unidentified. Source: Men of Buffalo: A Collection of Portraits of Men Who Deserve to Rank as Typical Representatives of the Best Citizenship, Foremost Activities and Highest Aspirations of the City of Buffalo. Chicago: A.N. Marquis & Co., 1902, p.257. Buffalo's German-American Leaders and the Pan-American Exposition Because the Pan-American Exposition was, after all, a way to show off the city and its industries, many of these individuals worked hard to bring the to Buffalo. Four members of the Board of Directors of the Exposition were either German or of German descent--Conrad Diehl, August Esenwein, George Urban, Jr., and F.C.M. Lautz. Conrad Diehl, Mayor of Buffalo August Carl Esenwein, Architect. Photographer: Unidentified. Source: DeutschAmerikanische Historische und Biographische Gesellschaft. Buffalo und sein Deutschtum : Deutsch- Amerikanische Historische und Biographische Gesellschaft. [Buffalo, N.Y.?] : Die Gesellschaft], 1911-1912. Frederick C. M. Lautz. Photographer: Unidentified. Source: Men of Buffalo: A Collection of Portraits of Men Who Deserve to Rank as Typical Representatives of the Best Citizenship, Foremost Activities and Highest Aspirations of the City of Buffalo. Chicago: A.N. Marquis & Co., 1902, p. 286. George Urban, Jr. Photographer: Unidentified. Source: A History of the City of Buffalo : Its Men and Institutions : Biographical Sketches of Leading Citizens. Buffalo, N.Y. : Buffalo Evening News, 1908, p. 192. �The architect who designed the Temple of Music, August Esenwein, was from Germany, as were many of the musicians and directors who performed at the Pan American Exposition. The huge "Saengerfest" or festival of German choral music, which took place during the Exposition, brought at least ten thousand people to the fair. "Alt Nürnberg", or "old Nuremberg," replicated several historic buildings in Nuremberg, as well as a large open-air restaurant and concert area on the Midway. Within the buildings were reproductions of artwork and other cultural treasures of Germany. The Exposition Illuminated German Americans were an influential group in Buffalo society at the time, and they had reason for pride in their representation at the Pan-American Exposition. German Culture in 1901 Buffalo German settlers in Buffalo started forming singing societies before the Civil War. By 1901, these included the Buffalo Sängerbund, Liedertafel, Liederkranz, Germania Singing Society, Orpheus, and the Harugari Männerchor. From June 24 to 27, 1901, Buffalo welcomed a huge crowd of German-American singers from all over North America, for the 1901 Saengerfest. F. C. M Lautz led the organizational effort, while John Lund conducted the enormous adult choir, and Joseph Mischka, an immigrant from Bohemia (then part of Austria-Hungary) and, in 1901, Director of Music for the Buffalo School System, directed about 3500 children in a concert at the 74th Regiment (now the Connecticut Street Armory) - the only building large enough to accommodate the concerts. John Lund, Conductor. Photographer: Unidentified. Source: Geschichte der Deutschen in Buffalo und Erie County, N.Y. / mit biographien und illustrationen hervorragender Deutsch- Amerikaner, welche zur Entwickelung der Stadt Buffalo beigetragen haben. (History of the Germans of Buffalo and Erie County). Buffalo, N.Y. : Reinecke & Zesch, 1897 (1898 printing), p. 172. �Alt Nürnberg: German Culture on the Midway View of the Restaurant at Alt Nürnberg.Photographer: Unidentified. Source: Cosmopolitan, vol. 31, no. 5 (September 1901), p. 476 Bavarian Guard at Alt Nürnberg.Photographer: C.D. Arnold. Source: The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901. p. 10. Courtesy of Kerry S. Grant "Alt Nürnberg", or "old Nuremberg," replicated several historic buildings in Nuremberg, as well as a large open-air restaurant and concert area on the Midway. Within the buildings were reproductions of artwork and other cultural treasures of Germany. Alt Nürnberg on the Midway. Photographer: C.D. Arnold. Source: The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901. p. 110. Courtesy of Kerry S. Grant �View of Alt Nürnberg. Photographer: Unidentified. Source: Cosmopolitan, vol. 31, no. 5 (September 1901), p. 486 Other sources Information on the history of Germans and German-Americans in Buffalo include: 1. Susan Kriegbaum-Hanks' website Archivaria.com looks at the history of the Geman Community in Buffalo, including discussion of the German singing societies. 2. Geschichte der Deutschen in Buffalo und Erie County, N.Y. / mit biographien und illustrationen hervorragender Deutsch- Amerikaner, welche zur Entwickelung der Stadt Buffalo beigetragen haben. (History of the Germans of Buffalo and Erie County). Buffalo, N.Y. : Reinecke & Zesch, 1897 (1898 printing) 3. Deutsch-Amerikanische Historische und Biographische Gesellschaft. Buffalo und sein Deutschtum : DeutschAmerikanische Historische und Biographische Gesellschaft. [Buffalo, N.Y.?] : Die Gesellschaft], 1911-1912. �The Italian Community of Buffalo and the Pan-American Exposition Buffalo's "Little Italy" Of the major ethnic groups populating Buffalo at the turn of the century, the Italians were by far the newest immigrants to the city, with the first large groups having arrived in the mid-1880's. A colony known as "Little Italy" developed on the city's West Side, in the extreme southwest corner of Main Street, extending from Niagara Street's northern tip westward to the waterfront. Most residents of this crowded and often crime-ridden area "Canal Zone" hailed from Sicilian coastal towns. Smaller settlements of Italian immigrants developed on the east side and farther north, although these areas were settled by natives of Basilicata, Calabria and Campania. For the most part, these Italian enclaves were segregated from Buffalo society, even from the other ethnic communities inhabiting the city. Indeed, of the ethnic groups populating Buffalo during the late 19th and early 20th centuries, the Italians were the most residentially segregated. While this fostered a sense of identity among Italians, it also " facilitated their exclusion from Buffalo's wider social life.1 Horace O. (Orazio) Lanza. Class of 1901, Dept. of Law, University of Buffalo, Class "Orator". Photographer: UnidentifiedSource: Iris (yearbook) vol. 4 "Pan-American edition," 1901. Courtesy of the University at Buffalo Archives. Italians were not well represented in the police force or in the political life of Buffalo. Supporting a family required considerable ingenuity, and usually several wage-earners, so most young people were unable to attend school beyond age 13. A few Italian immigrants had become doctors and lawyers and entrepreneurs in Buffalo; the whole community celebrated when became the first Italian graduate of University at Buffalo Law School in 1901. Most of Buffalos' Italians (69%)2 were employed as laborers, in most cases seasonal outdoor laborers. Virginia Yans- McLaughlan attributes this to the agrarian background of most of the Italians who emmigrated to Buffalo from the southern portions of Italy. "Most Italian men chose outdoor work, to which their cultural background permitted a ready adjustment.... A small upper class, 1 percent of of working-age first-generation males, headed the occupational hierarchy. Macaroni manufacturers, who exploited Buffalo's importance as a grain port, and produce merchants, who profited from the city's location near northwestern New York's fruit belt, were in this elite group.... Real estate dealers in this elite group sold homes in the Italian quarter to Italians; doctors, lawyers, a few bankers and businessmen served the expanding needs of the immigrant community and established their reputations within it's confines.... �Little Italy's most successful men owed their achievements to expertise obtained abroad of to the tastes and needs of the ethnic community. [During this period] very few distinguished themselves in the world outside the ghetto." July 13. 1901 p.7, col.2 Buffalo Maeearoni & Vermicelli Works. H. Messersmith, 302 - 310 Michigan ST. Non perdete tempo ad ammobigliare la vostra casa per la Pan-American Un letto con rete o materasso per $4.65 Il piu' grande buon mercatoal mondo Com modi di querciasolida a specchio Francesc per $6.35 Tavole da Cucina $1.25 Sedic da camera da pranzo per 85c e piu' Louis (or Luigi) Onetto was a prominent Buffalo businessman, an importer and manufacturer of pasta. This advertisement appeared in the July 13, 1901 edition of Il Corriere Italiano. 3 �Whereas 87% of working-age males in Buffalo's Italian community worked in the "lower echelons of the occupational hierarchy,"[s]killed workers—tailors, shoemakers, building trades—headed this group.4 In fact, these were all trades locally associated with Italians. It is not surprising then to find that Italian immigrants in Buffalo worked as stonecutters, skilled craftsmen, and laborers in the construction of the Pan-American Exposition. Buffalo's Italians and the Pan-American Exposition In addition to their contributions in building the Pan-American Exposition, Buffalo's Italians were represented by the many who staffed the Midway concession, "Venice in America." The gondoliers and mandolinists, some hired directly from Italy, some from the Italian community in Buffalo, were a memorable part of the Exposition. "Venice in America" highlighted many of the cultural treasures of Italy. Some of the mandolinists or guitarists employed at the Venice in America concession were: Antonio Gugino, Giuseppe Leone, Ciro Laduca, Luigi Lomanto, Liborio Maggio, Giuseppe Ortolani, Salvatore Ortolani, Giuseppe Vacanti. The following excerpt from Richard Barry's The Granduers of the Exposition, certainly romanticized "Venice in America". "Venice in American is the chief landing dock of the boats that make the most delightful trip within the Exposition grounds: the canal route that circumnavigates the rainbow city by day and the city of light by night. The Venetian gondoliers chant their gay songs there, and many a carol of midnight joy rings across the silent water. Not even the clearest, softest note from the silvery throat of the most celebrated contralto can equal the lustrous diapason of delicious melody that floats as free and languorous from the lips of those Venetian boatmen and laughing soubrettes as the song of the red-breasted thrush at daybreak. It dies away in the night air like the memory of a dream while in the distance, with soft lamps from the neighboring bazaars shedding their soft radiance on the canal, and with boatloads of people gliding through the luminous water to tinkling guitars and clattering castanets buxom girls in blue dance and blithesome tarantella."5 Strolling Musicians in "Venice in America". Photographer: Unidentified. Source: Cosmopolitan, vol.31, no. 5 (September 1901), p.479. Courtesy of Kerry S. Grant. �Scenes of Venice in America Gondolas on canal in Venice in America. Photographer: Unidentified. Source: Richard Barry. The Granduers of the Exposition. Buffalo, N.Y. : Robert Allen Reid, 1901. Courtesy of the University at Buffalo Archives. Musicians in "Venice in America".Photographer: Unidentified. Source: Pan-Am Scrapbook. n.p.: 1901? Courtesy of Kerry S. Grant.. Nina Morgana was another Buffalo resident recruited to perform in "Venice in America." Morgana was known as Baby (or Child) Patti during her early years in Buffalo, after the famous singer Adelina Patti. Contemporary articles claimed that she was from Italy, but most souces state that she was born in Buffalo. Morgana sang locally in Buffalo churches and schools from the age of four, but her performances at the Pan-American Exposition presented her talents to a much larger audience. She would go on to study in Italy and perform with such greats as Enrico Caruso. See more about Nina Morgana in the Music and Musicians at the Pan-American Exposition. Nina Morgana (center) �At the turn of the century, Italian music, especially opera, popular songs and instrumental music, was very popular in Buffalo and throughout the United States. Italian-American bands including the Scinta band (Buffalo) and the Fanciulli band (New York), played at the Exposition and were in high demand for concerts, dances and social events. There were no microphones or electric amplifiers, and recorded music on wax cylinders was only available to the wealthy. Below are pictures of Buffalo's Scinta Band, directed by Serafino Scinta and the University of Buffalo's 1901 Mandolin Club. Scinta Band of Buffalo "University of Buffalo Mandolin and Guitar Club," 1901. Photographer: Unidentified. Source: Iris (yearbook) vol. 4 "Pan­ American edition," 1901. Courtesy of the University at Buffalo Archives �Il Corriere Italiano Although Italians were a relatively new immigrant group in 1901 Buffalo, Italian churches, mutual-aid organizations, cultural groups, and a newspaper, IL Corriere Italiano, were thriving in the crowded Canal Zone. IL Corriere Italiano was probably Buffalo's most important Italian language newspaper. "It was the first successful organization run by Italians designed to serve the entire community."6 Ferdinando Magnani, editor of IL Corriere Italiano, also published a book, La Cittá di Buffalo, N.Y.,explaining and praising Buffalo to potential immigrants from Italy. Magnani supplemented his earnings by teaching and translating as seen in the advertisement below. IL Corriere Italiano kept Buffalo's Italians informed of local happenings as well as news from Italy. There were numerous articles on the Pan-American Exposition, including a "Pan"-related poem. The paper reproduced below announces the September 14, 1901 death of president William McKinley, who was shot by anarchist Leon Czolgosz at the Exposition. Ferdinando Magnani. Photographer: Unidentified. Source: Ferdinando Magnani. La Cítta di Buffalo, N.Y. : e paesi circonvicini e le colonie Italiane. Buffalo, N.Y. : Tipografie editrice Italiana, 1908. F. Magnani English, French and Latin 131 Broadway Buffalo into Italian Translator & Teacher �Il Presidente McKinley e' Morto. Front page of Il Corriere Italiano announcing the death of President McKinley Source: Photocopy from microfilm. Il Corriere Italiano, September 14, 1901. p.1. �Finally, this poem, written by Upilio Nuti and was published in IL Corriere Italiano, June 22, 1901. The translation below is courtesy of Serafino Pocari. It is not clear whether or not Mr. Nuti was a resident of Buffalo or one of the many people who came to the city to work at or visit the Exposition. "Pan" Back then, almost a year ago, All' Espoalzlone. When I rushed here by train One thing hit me right away As I wandered around the town And this inexplicable novelty That wandered about my mind For months, both night and day It seemed to be everywhere. I gazed at the Exposition's symbols Reproduced in skillets and wondered What mysterious connection united them? I fabbricati che souo abibiti all' Esposizione di prodotti viventi, restano all' entrata di Est Amherst St. e per la importanza delle svariatissime mostre destano L'interesse di tutti i visitatori che vi accorrono gia', quantunque non siano peranco del tutto all’ordine. I liked the burden better than its carrier! Oh Pan-American! I am grateful to know that in English "Pan" means "frying pan" [padella]. Buffalo, June 19, 1901 “Pan” Alloraquando, quasi un anno fa col treno in fretta me ne venni qui —Upilio Nuti una cosa all'istante mi colpi' su e giu' girandolando la citta'. E questa inesplicabil novita' per cui per vari mesi si smarri' la mente mia, ognor la notte e el di', era che in tutte le localita' miravo embkemi de l'Esposizione riprodotti in padelle e non sapevo qual mai li unisse arcana connessione. A me conviene il basto e non la sella! o Pan-American! questo a te devo che in lingua inglese "Pan" vuol dir padella. Buffalo, 19 Giugno 1901. Upilio Nun "Pan". Author: Upilio Nuti. Source: Photocopy from microfilm. Il Corriere Italiano, June 22, 1901. p.1, col. 4-5. �References 1. Virginia Yans-McLaughlin. Family nd Community : Italian Immigrants in Buffalo, 1880-1930. Ithaca : Cornell University Press, 1977, p.116. 2. Ibid., p. 45. 3. Ibid., p. 44. 4. Ibid., p. 46. 5. Richard Barry. The Granduers of the Exposition. Buffalo, NY : Robert Allen Reid, 1901. 6. Yans-McLaughlin, p. 123. For additional information on the history of Italian Immigrants in Buffalo see: • Virginia Yans-McLaughlin. Like the Fingers of the Hand: the Family and Community Life of First-Generation Italian Americans in Buffalo, New York, 1880-1930. Unpublished dissertation, State University of New York at Buffalo, 1970. • Ferdinando Magnani. La Cítta di Buffalo, N.Y. : e paesi circonvicini e le colonie Italiane. Buffalo, N.Y. : Tipografie editrice Italiana, 1908. �The Polish Community of Buffalo and the Pan-American Exposition In 1901, Buffalo "Polonia" made up a large percentage of Buffalo's population. The population of Poles had grown from roughly 6.5% of the city'stotal population in 1881 to nearly 20% by 1904.1 The wave of immigrants arriving in the later 19th century traveled from a Poland that was not unified but instead under the rule of three neighboring powers—Prussia, Austria and Russia. That there was no consular support for this divided region is, in part, why there was no clear representation of Polish culture at the Pan-American Exposition. Those Poles who settled in Buffalo did, however, have a clear sense of national identity. They saw themselves as Polish regardless of the political control of the regions from which they arrived. There was clear animosity towards those countries controlling their homeland, which often translated into friction between Buffalo's Polish community and those of other immigrant groups, especially the Germans. Still, Polonia developed a strong economic and cultural base in Buffalo, primarily on the East Side, where there were several newspapers, publishers, retailers, and manufacturers. Polish churches, schools, music, sports, and mutual-aid societies grew to be a central part of the Buffalo Pole's life. See Buffalo "Polonia at the Turn of the Century" for more information on the growth of the Polish Community leading up to the Pan-American Exposition. Franciszek (Francis) Fronczak Most of Buffalo's Polish immigrants worked as general laborers, hired for canal digging and street building.2It is not surprising then, that Poles worked in the construction of the Exposition and on the railroads that brought visitors to the grounds. Encouraged by community leaders, Buffalo's Poles even bought shares of Pan-American Exposition stock. Franciszek Fronczak, born in Buffalo to Polish immigrant parents, was a young and articulate doctor, who graduated both from Canisius College and the University of Buffalo Medical School. Although only in his mid-twenties, he took a leadership role in the Polish community, encouraging participation in the Pan-American Exposition, and chairing the convention of the Alliance of Polish Singers, which met in Buffalo in 1901. Fronczak is still highly respected for his varied roles as doctor, Buffalo's health commissioner (starting in 1910), journalist, and supporter of Poland's independence. Franciszek (Francis) E. Fronczak. Photo credit: Unidentified. Source: Album pamiatkowe i przewodnik handlowy : osady polskiej w miescie Buffalo, z do aczeniem okolicznych miejscowósci ze stanu New York. Buffalo, N.Y. : Wydane staraniem i nak . Polskiej Spó ki Wydawniczej, 1906-1909. Courtesy of the University at Buffalo University Libraries Polish Collection. �It is interesting to note that during this period, the Polish community was becoming more politically active but was still relatively isolated from the rest of Buffalo society. Partially by choice and also due to the ethnic prejudices of both the Poles and their neighbors, Buffalo Polonia was a remote and self-sufficient colony within the city. Yet many Poles were willing to participate in both the building and financial support of the Pan-American Exposition. This is certainly a testament to the influence of leaders like Fronczak. The following letter appeared in the January 26, 1899 Buffalo Express in a section of the paper where daily lists of Exposition subscribers (those who purchased stock) were listed. January 25, 1899 Henry W. Sprague: Dear Sir — Enclosed please find a number of Polish subscribers whom I have seen within a few hours. We have so far subscribed here almost $4,000, and hope to be able to add enough to make $10,000 from the Polish citizens of Buffalo. May this mite be a token of our sincerity in the enterprise. Hoping to have the priviledge of sending another list in a few days, I am Very truly yours Francis E. Fronczak The Polish Press and the Exposition Polak Amerykanski Press. Stanislaw Slisz (seated in the center), with staff. Photo credit: Unidentified. Source: Album pamiatkowe i przewodnik handlowy : osady polskiej w miescie Buffalo, z do aczeniem okolicznych miejscowósci ze stanu New York. Buffalo, N.Y. : Wydane staraniem i nak . Polskiej Spó ki Wydawniczej, 1906-1909. Courtesy of the University at Buffalo University Libraries Polish Collection. �The most popular Polish-language newspaper in 1901 was the daily Polak w Ameryce , which had circulation over 6,000 in a local population of about 75,000 Poles. The paper began publication in 1885 under the name Ojczyzna. By 1887 the name had changed to Polak w Ameryce, which translates as "The Pole in America." Stanislaw Slisz and his brother Jozef, both of whom came to Buffalo in 1885, became the publishers of Polak w Ameryce. The Slisz's Polak Amerykanski Press also published magazines and books for Polish-speaking people throughout the United States. Other Polish newspapers at the time of the Pan-American Exposition were, Gazeta Buffaloska(Buffalo Gazette), the Echo, the Slonce (Sun), and the Warta (Guard) The Polak w Ameryce promoted the Pan-American Exposition and urged Polish residents to buy shares. The response must have gratified the promoters: about 230 Poles bought roughly $8,300 worth of Exposition Company shares. (Overall, 11,000 investors spent $1.5 million on Pan-American shares.) At a time when hourly pay for railroad workers, for example, was 14 to 16 cents, a ten-dollar Advertisment for Pan-American Exposition Company Stock. Source: This advertisment appeared in the March 31, 1899 issue of Polak w Ameryce. The image was digitized from a microfilm copy. Listed in the ad are the Exposition's Board of Directors. expenditure was considerable. This represented a strong commitment of Polish immigrants to their adopted city. The advertisement at right appeared in the March 31, 1899 issue of Polak w Ameryce. The Polish Singers' Alliance From August 19 to 22, 1901 Polish singers came to Buffalo and the Pan-American Exposition from all over the United States. Several local singing societies, including the Lutnia ("lute") and Chopin choral societies, took part in the Polish Singers' Alliance competition and concerts, which were very well attended and favorably reviewed in the English, Polish and German presses. • "Sons of Plucky Poland" appeared in the August 19, 1901 Buffalo Courier. • "Polish Singers Convene" appeared in the August 19, 1901 Buffalo Express. �Polish Singing Societies of Buffalo Chopin Choral Society.Photo credit: Unidentified. Source: Album pamiatkowe i przewodnik handlowy : osady polskiej w miescie Buffalo, z do aczeniem okolicznych miejscowósci ze stanu New York. Buffalo, N.Y. : Wydane staraniem i nak . Polskiej Spó ki Wydawniczej, 1906-1909. Courtesy of the University at Buffalo University Libraries Polish Collection. Kalina Choral Society.Photo credit: Unidentified. Source: Album pamiatkowe i przewodnik handlowy : osady polskiej w miescie Buffalo, z do aczeniem okolicznych miejscowósci ze stanu New York. Buffalo, N.Y. : Wydane staraniem i nak . Polskiej Spó ki Wydawniczej, 1906-1909. Courtesy of the University at Buffalo - University Libraries Polish Collection. Lutnia Choral Society.Photo credit: Unidentified. Source: Album pamiatkowe i przewodnik handlowy : osady polskiej w miescie Buffalo, z do aczeniem okolicznych miejscowósci ze stanu New York. Buffalo, N.Y. : Wydane staraniem i nak . Polskiej Spó ki Wydawniczej, 1906-1909. Courtesy of the University at Buffalo University Libraries Polish Collection. Wanda Choral Society.Photo credit: Unidentified. Source: Album pamiatkowe i przewodnik handlowy : osady polskiej w miescie Buffalo, z do aczeniem okolicznych miejscowósci ze stanu New York. Buffalo, N.Y. : Wydane staraniem i nak . Polskiej Spó ki Wydawniczej, 1906-1909. Courtesy of the University at Buffalo - University Libraries Polish Collection. �Assassination and the Polish Community In 1901, workers were still agitating for union-organizing rights and for the eight-hour day, but strikes and worker demonstrations were commonly crushed by private troops (e.g., the Pinkertons) and government forces (police, National Guard). Wages for laborers were low, workdays were 10 or more hours, six days a week, and most children went to work at age 13 or 14. Like most other immigrants groups, the Poles, generally thought of as industrous workers, were caught in this difficult situation, and only the educated few were able to rise above it. One who did not manage to rise above it was Leon Czolgosz, an unemployed laborer who came to Buffalo and the Exposition intending to shoot President William McKinley. He did just that on September 6, 1901 and on September 14, the President died. The fact that he was the American-born son of a Polish immigrant was a source of shame and anger for Poles in Buffalo. The planned parade and celebration of Polish Day at the Pan-American Exposition were canceled by community leaders, despite months of preparation. The Polish-language press was apparently shocked and disgusted at the assassination. Police arrested a number of Polish residents, some of whom were held for questioning, as well as a number of Italians. However, no conspiracy was discovered—Czolgosz had acted independently. Indeed, the assassination of President Poles Are Incensed. McKinley was a setback to Buffalo's Polish community. However, despite this and the many prejudices and Mass Meeting last Nightde nounced the Assassin. Disgrace To The Name barriers faced, Buffalo's Polish Americans would grow to achieve success in the professions, business and politics of subsequent years, while still maintaining their sense of ethnic pride. �References: 1. Eugene Edward Obidinski. Ethnic to status group : a study of Polish Americans in Buffalo. Unpublished dissertation --State University of New York at Buffalo, 1968; quoted in Stanislawa Tillson, Transformation of the Polish Sub-Community in Western New York : the Case of Buffalo. Unpublished dissertation -- Uniwersytet Warszawski, 1976, p. 10. 2. Tillson, p. 9. Additional Resources: • Ann T. Skulicz. Rise of the Buffalo "Polonia", 1887-1900. Unpublished thesis-University of Buffalo, 1951. • Ksiega Pamiatkowa, Zlotego Jubileuszu Osady Polskiej i Parafji Sw. Stanislawa, B. i M. w Buffalo, New York, 1873­ 1923. [Buffalo, N.Y.] Nakladem Komitetu Wydawniczego [1923]. • Album pamiatkowe i przewodnik handlowy : osady polskiej w miescie Buffalo, z do aczeniem okolicznych miejscowósci ze stanu New York. Buffalo, N.Y. : Wydane staraniem i nak . Polskiej Spó ki Wydawniczej, 1906-1909. For information on the meatpacking industry of Buffalo's East Side, see Fred Jablonski's East Buffalo 1846-1976 at http://geocities.com/richslon/eastbuf.html. There is a "Pan-Am" section as well as a "Gallery," which discusses the East Side stockyards, meatpackers and purveyors, most of whom were leaders in the German or Polish communities. Update Sept. 2009: Unfortunately, as of 2008, the link is no longer valid. Try using the Wayback Web to access the archived pages at http://web.archive.org/web/*/http://geocities.com/richslon/eastbuf.html �The Irish Community of Buffalo and the Pan-American Exposition By 1901, there was a well-established Irish community living and working in Buffalo, for the Irish, like the Germans, were among the earliest of Buffalo's settlers. Most of the city's Irish emigrated from their home country in response to the Irish Famine, and arrived in Buffalo during a period when the city was rapidly growing as a grain port. As the century progressed, Buffalo would become a major transportation hub for shipping and rail and a center of heavy industry. Both the German and Irish immigrants played major roles in the city's growth. However, while the Germans became part of Buffalo's political and economic mainstream, the Irish were somewhat socially isolated by century's end, in part because they maintained a much stronger ethnic identity, with emphasis on family ties, Ireland and the Catholic church. The Irish were an integral part of the labor force during the periods of Buffalo's heaviest growth. It is difficult to say with any certainty, however, exactly what role the Irish as a group, may have played in the Pan-American Exposition. With the exception of a few diocese-supported publications, there were no ethnic Irish newspapers to refer to1, and personal accounts have been difficult to obtain. Nonetheless, there is ample evidence allowing us to speculate as to just what role Buffalo's Irish community played in the construction and operation of the Exposition. • The First Ward • The Great Strike of 1899 (The Scoopers Strike) • Building the Exposition • The Exposition Fire Department • Railroad Day • Irish Sports Week �The First Ward While it is estimated that there may have been as few at 400 Irish-born in Buffalo in the early 1830's2, within 20 years, the population had grown to over ten thousand. Most were Catholic and arrived in the years following the Great Irish Famine. They settled primarily in the First Ward, a low-lying area south of the city's central business district near the waterfront, which was lined with grain elevators, warehouses and factories. Buffalo's first Roman Catholic Bishop, Fr. John Timon, organized the St. Vincent de Paul Society to aid those immigrants escaping the famine and established St. Brigid's Roman Catholic Church in response. The church became the spiritual and social center of the First Ward and while originally home to families of numerous ethnicities, by 1880, 70% of the ward's population was Irish.3 In the early periods of settlement, most of Buffalo's Irish were unskilled or semiskilled laborers who worked in the regions immediately adjacent to the First Ward—as longshoremen, at the nearby Buffalo Union Furnace, and on the railroads. Because of the First Ward's proximity to the numerous grain elevators that lined the Buffalo River, the city's "grain-scoopers" were predominantly Irish. William Jenkins writes, Bishop John Timon. Image credit: The Sage Sons & Co. Lithograph Co., Buffalo, N.Y. n.d. Source: Charles G. Deuther. The Life and Times of the Rt. Rev. John Timon, D.D., First Roman Catholic Bishop of the Diocese of Buffalo. Buffalo, N.Y. : Charles G. Deuther, 1870. Frontispiece. [Eastern elevator, Buffalo, N.Y.] The milieu of the First Ward was akin to a small industrial town where, rather than the Satanic mill, the Irish lived in the shadow of the grain elevator. Many Irish immigrant livelihoods depended on the latter building, developed by Joseph Dart in 1842.4 Scooping was seasonal work, dependent upon the traffic of shipping on the Great Lakes and Erie canal. During the winter Irish laborers often took work on the railroads or as workers in other capacities such as digging canals and warehouse slips and repairing Buffalo's sea walls.5 Indeed, by 1900, the railroads were employing a significant number of Buffalo's Irish, as were the foundries, mills and factories. But "scooping" was a job that became almost exclusively associated with the Irish and one of the more pivotal events in the history of the Buffalo involved this group of laborers at a time when the city was planning for the 1901 Pan-American Exposition. �The Great Strike of 1899 In the spring of 1899, while Buffalo leaders were engaged in planning the Pan­ American Exposition to be held 2 years later, scoopers, freight handlers and other dock workers on the city's waterfront went on strike, bringing Great Lakes commercial transport to a standstill. The scoopers were not protesting against the lake shipping companies or local industrialists, rather, their complaints were waged against the freight contractors—fellow Irish saloon bosses common in the First Ward, who held exclusive contracts with the elevators and shipping companies to control the labor supply. William Connors, in particular, was the grain contractor against whom this strike was directed. He was an Irish saloon-keeper who "contracted with shipping companies to unload grain from ships in Buffalo's harbor, and then in turn signed on men to do work. This arrangement was highly profitable for Connors, but also highly exploitative, since the men worked on a day-by-day basis with no job security, Bishop James Quigley and Connors picked the men who spent the most money in his saloon to perform the labor."6 The strike created a volatile environment and could easily have lead to violence between the strikers and the Connors camp. Despite their notoriety for anti-labor crackdowns, police and City officials exhibited restraint, although both Connors and the scoopers accused them of favoritism. The police did not support Connor's attempts to bring in scab labor and "Democratic Mayor Conrad Diehl, finding himself in an awkward position, took no public stand. The Common Council, according to its printed proceedings, did not discuss the strike..."7 and the administration's overall apathy toward the dockside labor unrest was apparant. The Buffalo Star commented "During this crisis, what has our city government done? Talked Pan-American, with a thousand families struggling against starvation."8 Bishop James Quigley proved to be an important force in the dispute, defending the Irish workers against Irish contractor interests, and calling the saloon-system immoral. He was joined in the attack on Connors' forces by other clergyman, including Protestants from the city's leading churches.9Despite the tension and the disruption to lake commerce, the strike was a relatively peaceful victory for the strikers (only one man was killed) and led to reforms in the saloon-boss system of labor, much to the benefit of the scoopers, longshoremen and other freight handlers.10 �Images of Buffalo's Grain Elevators, ca.1900 (Adjacent to the First Ward) Unloading wheat into elevators, Buffalo. Photographer: Unidentified. Published: c1900 / Detroit Publishing Co. no. 011477. "Badger State" and "Lackawanna Green Bay Line" on ship. Collection: Detroit Publishing Company Photograph Collection. Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Source: http://memory.loc.gov/ammem/collections An Old timer at C.T.T. elevator, Buffalo, N.Y. Photographer: Unidentified. Published: [ca.1900] / Detroit Publishing Co. no. 012926. "Badger State" and "Lackawanna Green Bay Line" on ship. Collection: Detroit Publishing Company Photograph Collection. Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Source: http://memory.loc.gov/ammem/collections/ Great Northern elevator and shipping, Buffalo, N.Y. Photographer: Unidentified. Published: 1900 / Detroit Publishing Co. no. 012924. "Andaste of Ishpeming" on left freighter; "I.W. Nicholas" on center freighter; and "B.L. Pennington" on right freighter. Collection: Detroit Publishing Company Photograph Collection. Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Source: http://memory.loc.gov/ammem/collections River and elevators, Buffalo.Photographer: Unidentified. Published: [c1900] / Detroit Publishing Co. no. 011470. Collection: Detroit Publishing Company Photograph Collection. Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Source: http://memory.loc.gov/ammem/collections �River and elevators, Buffalo, foot of Michigan St. Photographer: Unidentified. Published: c1900 / Detroit Publishing Co. no. 011468. Collection: Detroit Publishing Company Photograph Collection. Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Source: http://memory.loc.gov/ammem/collections River and elevators, Buffalo, foot of Main St. Photographer: Unidentified. Published: c1900 / Detroit Publishing Co. no. 011469. Collection: Detroit Publishing Company Photograph Collection. Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Source: http://memory.loc.gov/ammem/collections/ Building the Exposition The Scoopers Strike may give the impression that most of Buffalo's Irish were unskilled laborers. It is true that most of the immigrants arriving during the 1850's began work as unskilled or semiskilled laborers. There were very few entrepreneurs and only two factory owners in 1855—William Carland, who owned Gothic Hall and made ready-made men's clothing, and Augustine Keogh, who manufactured pianofortes.11 By 1900 however, the Irish had become well established in the semiskilled and skilled trades and were making strides in what we would refer to today as "white collar" jobs. In looking at a sample of Irish surnames in the 1900 Buffalo Directory one can see a noticeable increase over previous years in the number of professionals, clerks, shopkeepers and, among women, teachers. Most significant, however, were the numbers of tradesmen listed, especially, blacksmiths, carpenters, bricklayers, molders and other construction related occupations. Over 16% of the sample fell into the category of "skilled trade", while 12% were laborers, and 10% worked for the railroads.12 With so many involved in construction-related occupations, we can speculate that Buffalo's Irish played some sort of role in the actual construction of the Exposition. It was well advertised throughout the period newspapers that the pay for construction Workers on the Exposition Grounds.Photographer: Unidentified. Source: Thomas E. Leary and Elizabeth C. Sholes. Buffalo's Pan-American Exposition. Charleston, SC : Arcadia Publishing, c1998, p.19. From the collection of the Buffalo and Erie County Historical Society. work at the Exposition grounds was very good and that laborers were coming to Buffalo from all parts of the �country. With good pay and and abundance of construction work, it is safe to assume that the Irish tradesmen and laborers were involved in building construction and in operation of the railroads running to and from the grounds. It is unfortunate that, without any first-hand accounts, we can only speculate at this point. The Exposition Fire Department Temporary Battalion No. 7: Engine 33.Buffalo Fire Department - 1901. Photographer: Unidentified. Source: Courtesy of The Buffalo Firefighters Historical Society. Note the Midway Entrance and Indian Congress Exhibit in the background. Hook and Ladder Co. 10 The Buffalo Fire Department, with its heavy representation of Irish-Americans, was charged with fire protection of the Pan-American Exposition grounds with five fire companies assigned to protect the property and people at the fair. These five companies made up temporary Battalion No. 7, and included Engine 33, which consisted of a combination chemical engine and hose wagon, along with two horses. Engine 33 was located at the South Midway near the Indian Congress, and its crew included members of Buffalo's Irish and German communities. Hook & Ladder 10 is shown with their 65 foot Gleason & Bailey truck in front of their quarters near the Belt Line Station on the exhibition grounds. �The Buffalo Fire Department's Alarm Office Journal for September 6, 1901 indicates the general call received by the office when President William McKinley was shot in the Temple of Music at 4:10 p.m. Source: Courtesy of The Buffalo Firefighters Historical Society] Occupations in the police and fire services have been historically, if not stereotypically, linked to Irish immigrants. In the case of Buffalo, separate research by William Jenkins and Sidney Harring and supports the stereotype. The Buffalo Fire Department, never formally organized as a paid fire service until 1880, had a disproportionately large number of Irish. Jenkins found that in 1900, of the Department's captains, lieutenants and firemen, the percentage of Irish was 39.5, 18, and 37.7 respectively.13 This was also the case with the city's police department. "The plethora of Irish names in the annual reports of the Buffalo Board of Police is testament to the strong representation of the first- and second- generation Irish of the city on the force."14 Indeed, in reviewing the 10 precincts and 2 substations existing in 1900, Harring found that 8 of the 12 police captains had Irish surnames, as did 72% of the officers.15 Railroad Day Lehigh Valley Railroad. Office of the Division Engineer. Many of Buffalo's Irish immigrants were employed as A.Division Vander Hoek, Engineer. Personal: Buffalo, N. Y. Sept. 11th, 1901. laborers on the railroads that served the city, bringing out-of­ Subject: observing Railroad day as Holiday. town visitors to Buffalo. They worked as switchmen, yard supervisors, conductors, The Railroad company has decided not to observe Railroad day engineers, signalmen and freight handlers. As a thriving railroad at the Pan-American Exposition as a holiday. The regular work of the department is not to center in 1901, the Pan­ American Exposition was within a single day's journey by rail for interfered with. However, you may give leavea of absence to such persons as desired, where this can be done without interference to the work, or safety of thetraf ic. No free transportation, however, will be granted or special. millions, and many special excursion trains and private cars arrived at the Exposition Depot, to out until your return, in your place, notifying located at the northern end of arrangements made, so the exposition grounds. in rendering assistance. However, as noted in this letter, that in case of trouble, there will be no delay Yours truly, A. Vander Hoek, railway business took Division Engineer. precedence over the pleasures of the Pan for the employees of the Lehigh Valley Railroad. this office of the "Railroad Day" Letter. Source: Courtesy of Tom Blake �Irish Sports Week The only Pan-American Exposition event to feature some aspect of Irish culture was "Irish Sports Week," which took place from August 28-31, 1901. Events included Gaelic games as well as other Irish running and jumping events, which were held in the stadium located on the Exposition grounds. These activities gave local Irish-Americans a chance to compete against individuals and teams from other areas and to showcase their national sports before an international audience. Pan-American Exposition Stadium. Photographer: Unidentified. Source: The Latest and Best Views of the Pan-American Exposition. Buffalo, N.Y.: Robert Allan Reid, 1901. The highlight of the games was an Irish football match where spectators were treated to a free fight. "For roughness it has got the regulation college game scraped to a polish. Black eyes, bloody noses and cracked heads were much in evidence by the time the first half was over. The game resembled a free fight more than anything else."16 Press coverage by the Buffalo Evening News indicates that the reception for the Irish sporting events was rather lukewarm, in part because the games were so poorly organized and promoted. On August 30th, the News reported that "[t]he Irish sports in the Stadium have been so carelessly managed that they attracted but little interest yesterday."17 However, articles do describe the excitement of hurling, a game somewhat on the order of lacrosse. "It is pretty rough fun, but it is fast and the crowd liked it."18 Irish Sports In The Stadium, The Hurling Match Was Ex citing, But the Jiggers Failed to Jig. There was a long delay yesterday aft ernoon in the Stadium before the Irish sports were ran off, and when the games took place the sport was not of the widly exciting kind, with the exception of the hurling match, a game some what on the order of lacrosse. It is pretty rough fun, but it is fast and the crowd liked it. The Irish jiggers didn't jig because the management had thoughtfully neglected to hire a fiddler, and a jig without a fiddler would be it melancholy affair, indeed, so the event was declared off, much to the disappointment of the four young men who had entered for it. Article: "Irish Sports in the Stadium."Digitized photocopy. Source: "Irish Sports in the Stadium." Buffalo Evening News, August 29, 1901. �The Irish Sports Conclude Today. Yesterday's Performances Were Free From Violence—Gunn Won a Prize. Article: "Irish Sports Conclude Today."Source: "Irish Sports in the Stadium." Buffalo Evening News, August 31, 1901. The Irish sports at the Stadium yesterday took as a snore civillized aspect. The O'Connell football team did not appear, having left in a huff for their happy home in New York. The Klekhams, who kicked everything else also the day before, played a mild and proper game with the all Irebands and won by the score of 6 to 5. Irish Football A Free Fight, Article: "Irish Foodball a Free Fight."Digitized photocopy. Source: "Irish Sports in the Stadium." Buffalo Evening News, August 30, 1901. Plenty of Slugging in the Game in the Stadium Yes terday-Other Games. The Irish sports in the Stadium have been so carelessly managed that they attracted but little interest yesterday. The races are slow, and the entries.In most or the events have dwindled almost to the vanishing point. The feature of yesterday's programme was the game of Irish football. 13 men to a team. For roughness it has got the regulation college game scraped to a polish. Black eyes, bloody noses and cracked heads were much in evidence by the time the first hal: was over. The game resembled a free flight more than anything else. �References 1. In 1852, Bishop Timon brought D'Arcy McGee from Boston to Buffalo to publish the Buffalo American Celt and Catholic Citizenalthough it was to be edited by future politician, Michael Hagan, "to provide in English, news of diocesan affairs and reminders of religious obligations and to interpret public questions from a non-partisan, but wholly Catholic viewpoint." In 1853, when McGee proved too partisan, Timon "guided" the American Celt's successor The Sentinel, edited by Hagan. David A. Gerber. The making of an American pluralism : Buffalo, New York, 1825-60. Urbana, Ill. : University of Illinois Press, 1989, p. 153, 293. It is unclear as to when the Sentinel ceased publication, but in the latter decades of the century Buffalo had no Irish newpaper. 2. Quoted in Gerber, p. 122. 3. William M. Jenkins. "In the Shadow of the Grain Elevator: A Portrait of an Irish Neighborhood in Buffalo New York in the nineteenth and Twentieth Centuries." Éire-Ireland, an Interdisciplinary Journal of Irish Studies, v. 37, no.1/2 (Spring/Summer, 2002), p. 20 4. Ibid., pp. 23-24. 5. David A. Gerber. The Making of an American pluralism, p. 125. 6. Sidney Lee Harring. The Buffalo Police—1872-1915: Industrialization, Social Unrest and the Development of the Police Institution.Unpublished dissertation, University of Wisconsin-Madison, 1976. pp. 138-139. Note: Harring reports that the name of the contractor was James Connors. In an email dated June 10, 2006, A.M.Beiter informed me that that the contactor involved in the dispute was William Connors, not James -- B.L. Battleson, June 12, 2006.. 7. Brenda K. Shelton."The Grain Shovellers' Strike of 1899." Labor History, v.9 1968, p. 220. 8. Ibid. 9. Sidney Lee Harring. The Buffalo Police—1872-1915, p. 139. 10. David A. Gerber. The Making of an American pluralism, p. 143. 11. A sample of 975 Irish surnames, spanning from O'Boyle to O'Toole was taken from The Buffalo Directory, (Buffalo, NY : The Courier Company of Buffalo, 1900.) Occupations studies fell into the following categories: laborer (12%), skilled laborer (16%), railroad worker (10%), scooper (3%), police or fire department (5%), saloonkeeper (3%), and teacher (3%). There were other occupations listed, including a handful of professionals and entrepeneurs, as well as contractors and foremen. While not at all scientific, this sampling does give an overall sense that by 1900, those Irish-born and of Irish descent in Buffalo were no longer primarily unskilled laborers, as they were a few decades prior. 12. William M. Jenkins. Social and Geographic Mobility Among the Irish in Canada and the United States: a Comparative Study of Toronto, Ontario, and Buffalo, New York, 1880-1910. Unpublished dissertation, University of Toronto, 2001, p. 315. 13. Ibid. 14. Harring, p.120. 15. "Irish Football a Free Fight." Buffalo Evening News, August 30, 1901. 16. Ibid. 17. "Irish Sports in the Stadium." Buffalo Evening News, August 29, 1901. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Immigrant Communities of Buffalo and the Pan-American Exposition of 1901 Description An account of the resource Because Buffalo was a major transportation hub in the 19th century and early 20th century, immigrants and their families made up a large and growing portion of the population. This component of the online exhibit is limited to addressing four of the larger immigrant communities existing in Buffalo at the time of the Pan-American Exposition: German, Italian, Polish and Irish. Creator An entity primarily responsible for making the resource State University of New York at Buffalo. University Libraries Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Image Identifier An unambiguous reference to the resource within a given context pan-am-the-immigrant-experience Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Immigrants--New York (State)--Buffalo--20th century Exhibitions--United States--New York (State)--Buffalo Pan-American Exposition (1901 : Buffalo, N.Y.) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/3f9928aeff698086a9f11f299f3380b4.pdf 4e53c65d022c9c28896657287a0d57fe PDF Text Text Music and Musicians • Introduction A general overview of music at the Pan-American Exposition, with a map of the music venues on the Exposition grounds. The Temple of Music Background information about the major musical venue at the Exposition, with twenty-eight images, including those of the Temple under construction, its interior, daylight and nightime shots from different perspectives, and architectural drawings. Four images of the Isidore Konti sculptures that adorned the building are included. • Bandstands Eleven images of the Plaza, Esplanade, and Casino bandstands. • Sheet Music Twenty-eight pieces of sheet music written for or about the Exposition, including songs lamenting the death of President McKinley. Audio files of some of the pieces are also available. • Bands Bands that performed at the Exposition, including eighteen images. �• Music Guide Music at the Pan-American Exposition: Organists, Orchestras, Bands, Buffalo, 1901 was the official guide to "scheduled" music performed at the major musical venues at the Exposition. It includes a description of the Emmons Howard organ in the Temple of Music, portraits of and biographical information about the organists who were scheduled to perform, and descriptions and images of the bands that performed. The page contains an index to this guide and a link to the complete guide, viewable page by page. • Personal Accounts and Stories The three personal accounts of musical activities at the Exposition include an excerpt from John Philip Sousa's autobiography, a description of the circumstances under which Victor Herbert's composition Pan-Americana was submitted to the Exposition competition, and Benita Gray's diary account of two visits to the Exposition, including one during which she sang at the Welsh Day choral competition on September 20, 1901. Mrs. Gray's diary entries make many references to buildings and events at the Exposition and links have been provided to allow the user to see many of the same sights that she may have seen.Also included is a page about singer Nina Morgana, who sang at the Exposition at age nine and went on to a successful career at the Metropolitan Opera in New York. • Ethnic Music Ten images of some of the types of ethnic music performed at the Exposition, including Mexican, Italian, Philippine, Middle Eastern, and African. Images of four instruments from the African Village now in the collections of the Buffalo Museum of Science are included. • Organ and Organists Images, description, and specifications of the Emmons Howard organ in the Temple of Music, with further information about some of the noted organists who performed at the Exposition. �• Instruments Background on some of the other instruments displayed at the Exposition, including images of the Steinway piano still located in the Buffalo and Erie County Historical Society's building, which was the New York State Building during the time of the Exposition. • Essays Essays contributed by Robert Berkman on player pianos and Frank Cipolla on bands at the turn of the century. �Introduction Music was a major component of the many offerings of the Pan-American Exposition in Buffalo, 1901. It encompassed orchestral, band, organ, choral, and ethnic music, as well as performances by noted vocalists and instrumentalists. Displays and demonstrations of instrument manufacturers were also part of the Exposition's musical offerings. The following statement in the Final Report of the Pan-American Exposition Company summarizes the quantity of band and orchestra music alone that was offered. With the exception of but a few weeks three bands, or two bands and one orchestra, were in attendance and played twice each day during the Exposition. It will thus be seen that an average of six band or orchestra concerts were given each day and evening, or an approximate total number of one thousand such concerts were given during the period of the Exposition. The great majority of the classical music performed by the bands and orchestras could be classified as either Plaza Bandstand - Closeup. View: Close-up of the bandstand in the Plaza showing the ornately detailed columns and roof. Photographer: Unidentified, probably C. D. Arnold. Source: Music at the Pan-American Exposition: Organists, Orchestras, Bands, 1901. Courtesy of Kerry S. Grant. "light classics" or other classical works that had already been assimilated into the public's musical taste. Arrangements of operatic works can be found on programs of the bands (especially Wagner), orchestras, and organ recitalists. Among the programmed works are many by composers whose names are no longer readily familiar to us. In short, the musical programming was geared towards the popular taste and more adventuresome contemporary music was ignored. But the panoply of music provided by the different venues of the Exposition was nonetheless impressive. The map below shows the grounds of the Pan-American Exposition with the bandstands and Temple of Music highlighted. These were the major venues for performance of concert music at the Exposition. Other venues of concert music included an occasional use of the Stadium and demonstrations of new musical instruments in the Manufactures and Liberal Arts Building. The Midway too was always alive with music at such sites as Alt Nürnberg, Beautiful Orient, Hawaii, Streets of Mexico, Venice in America, African Village, and the Japanese Village. ��The Temple of Music The Temple of Music was designed to function as both concert hall and ceremonial stage. The members of the music committee had originally requested that a larger building be constructed to house concerts of instrumental and choral music. Financial constraints altered the plan, reducing the size of the hall and adapting it for multifunctional use. Upon completion, it stood 150 x 150 feet with a dome rising 180 feet above the floor of the Temple. Its seating capacity was 2,200. The Temple of Music at the Pan-American Exposition. View: Color Rendering of the Temple of Music, by the architects Esenwein & Johnson. Source: Kerry S. Grant. The Rainbow City: Celebrating Light, Color, and Architecture at the Pan-American Exposition, Buffalo, 1901. Image from the collection of the Buffalo and Erie Country Historical Society. �The Temple was built by architect August C. Esenwein at a cost of $85,000 ($1,695,778.33 in 2001 dollars). Esenwein utilized an Italian Renaissance style in keeping with the overall architectural plan of the Free Renaissance style adopted by the Exposition Board of Architects led by John M. Carrère. The building bore elaborate decorative elements and four large sculptures by Isidore Konti over each of the four entrances. The color of the building, inside and out, was designed by Charles Yardley Turner to fit into his color scheme for the entire Exposition. Turner's colors for the Temple included red for the foundation with accents of blue, pale green, and terra cotta. The Temple of Music at the Pan-American Exposition. View: Architectural drawing of the Temple of Music. Source: "The Music Hall of the Pan-American Exposition." Engineering Record, vol. 43, no. 6, (Feb. 9, 1901) pp.132-134. The Temple of Music at the Pan-American Exposition. View: The Temple of Music, with scaffolding. Notice the ornamental staff being applied to the hardwood building frame. Photographer: C. D. Arnold? Source: Buffalo's Pan-American Exposition by Thomas Leary and Elizabeth Sholes with the Buffalo and Erie County Historical Society, Charleston, SC : Arcadia Publishing, c1998. �The Temple of Music at the Pan­ American Exposition. View: Close­ up of one of the walls of the Temple of Music showing the ornate detail of the bas-relief sculpture. Photographer: C. D. Arnold. Source: Buffalo's Pan­ American Exposition by Thomas Leary and Elizabeth Sholes with the Buffalo and Erie County Historical Society, Charleston, SC : Arcadia Publishing, c1998, p. 34. The Temple of Music at the Pan-American Exposition. View: The Temple of Music, with sign reading "Music Building", under construction, December 5, 1900. Notice the men working on the dome of the building. Photographer: C. D. Arnold? Source: Buffalo's Pan-American Exposition by Thomas Leary and Elizabeth Sholes with the Buffalo and Erie County Historical Society, Charleston, SC : Arcadia Publishing, c1998, p. 21. �Images of the Completed Temple of Music The Temple of Music at the Pan-American Exposition. View: Temple of Music from the West, showing formal gardens. Photographer: Unidentified. Source: The Rand-McNally Hand­ Book to the Pan­ American Exposition, Buffalo and Niagara Falls. Chicago and New York: Rand, McNally & Co., 1901. Courtesy of Kerry S. Grant. The Temple of Music atPan the­ American Exposition. View: Temple of Music, with Machinery and Transportation Building on the right and the Mines Building beyond the Temple on the left. Photographer: Unidentified. Source: Pan­ American Exposition Scrapbook [N. P., 1901?]. Courtesy of Kerry S. Grant. �he Temple of Music at the Pan-American Exposition. View: The Fountain of Abundance in front of the Temple of Music. Photographer: C. D. Arnold. Source: The Pan-American Exposition Illustrtated, by C. D. Arnold. Buffalo, N.Y., 1901. p. 54. Courtesy of Kerry S. Grant. �The Temple of Music at the Pan-American Exposition. View: Looking South from the Electric Tower, this photograph was taken at a height of over 300 feet. It shows the buildings around the Court of Fountains, including the Temple of Music on the right and the Ethnology Building facing it on the left. The Esplanade, with both its bandstands, is also visible. Photographer: C. D. Arnold. Source: The Pan-American Exposition Illustrated, by C. D. Arnold. Buffalo, N.Y., 1901. p. 26. Courtesy of Kerry S. Grant. The Temple of Music at the Pan-American Exposition. View: Dedication Day at the Pan-American Exposition. Dignitaries line up to enter the Temple of Music for the ceremonial dedication of the Exposition on May 20, 1901. Vice President Theodore Roosevelt and Senator Henry Cabot Lodge both spoke as part of the ceremonies. Part of the Fountain of Abundance is visible in the lower right and the Horticulture Building is visible to the left of the Temple of Music. Photographer: C. D. Arnold. Source: The Pan-American Exposition Illustrated, by C. D. Arnold, Buffalo, N.Y., 1901. P. 29. Courtesy of Kerry S. Grant. �Temple of Music at the Pan-American Exposition. View: Temple of Music as seen through the colonnade. Photographer: Unidentified. Source: Pan­ American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901 Courtesy of Kerry S. Grant. The Temple of Music at the Pan-American Exposition. View: The Temple of Music as viewed from near the Manufactures and Liberal Arts Building, across the Cascade and the Fountain of Abundance. The Mines Building is visible to the left of the Temple and the towers of the Buffalo Insane Asylum can be seen on the left horizon. Photographer: Arthur Hewitt. Source: Everybody's Magazine, v. 5, no. 26, Oct. 1901, Pan-American Exposition Number, p. 432. Published by John Wanamaker. Courtesy of Kerry S. Grant. �The Temple of Music at the Pan­ American Exposition. View: Looking towards the Triumphal Bridge, across the Court of Fountains, with the Temple of Music on the right. Both the East and West Esplanade Bandstands are visible on either side of the Triumphal Bridge. Photographer: Arthur Hewitt. Source: Everybody's Magazine, v. 5, no. 26, Oct. 1901, Pan­ American Exposition Number, p. 425. Published by John Wanamaker. Courtesy of Kerry S. Grant. The Temple of Music atPan the­ American Exposition. View: Temple of Music from across the Esplanade fountains. Photographer: Unidentified. Source: The Rand-McNally Hand-Book to the Pan-American Exposition, Buffalo and Niagara Falls. Chicago and New York: Rand, McNally & Co., 1901. Courtesy of Kerry S. Grant. Temple Of Music —Looking Across Esplanade Court. �The Temple of Music at the Pan-American Exposition. View: Temple of Music from south of the Ethnology Building. Photographer: Unidentified. Source: The Latest and Best Views of the Pan-American Exposition. Buffalo, N.Y.: Robert Allan Reid, 1901. Courtesy of Kerry S. Grant. The Temple of Music atPan the­ American Exposition. View: Temple of Music from the Esplanade Court, with Ethnology and U.S. Government Buildings to the right. The West Esplanade bandstand is visible between the two buildings. Photographer: Unidentified. Source: Pan­ American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901. Courtesy of Kerry S. Grant �The Temple of Music at the Pan-American Exposition. View: Temple of Music with West Esplanade bandstand in foreground. Photographer: Unidentified. Source: Pan-American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901. Courtesy of Kerry S. Grant. With its vibrant exterior color scheme, the artistic effects of illuminating of Temple of Music impressed even the most ardent critics of the period. It is unfortunate that surviving photographs, while impressive in their own right, do not truly reflect the role of color in this awe-inspiring exhibit of ornamental lighting. The Temple of Music at the Pan-American Exposition. View: Night scene of the Temple of Music looking across the Cascade with its illuminated fountains. The West Esplanade Bandstand is visible to the left of the Temple. Photographer: Arthur Hewitt. Source: Everybody's Magazine, v. 5, no. 26, Oct. 1901, Pan-American Exposition Number, p. 399. Published by John Wanamaker. Courtesy of Kerry S. Grant. The Temple of Music at the Pan-American Exposition. View: Night scene from the Ethnology Building towards the Temple of Music. The Fountain of Abundance was illuminated by lights placed inside the circumference of the base, with additional lights placed along the pedestal supporting the group of dancing children. Photographer: C. D. Arnold. Source: The Pan-American Exposition Illustrated, by C. D. Arnold. Buffalo, N.Y., 1901. p. 32. Courtesy of Kerry S. Grant. �Sculpture at the Temple of Music In keeping with the ornate style of the Temple of Music, four large groups of statuary were placed above the arches of each of the four entrances. These sculptures by Isidore Konti depicted sacred, lyric, dance, and heroic music. Sculpture at the Temple of Music - Gay Music "Music of the Dance". Sculptor: Isidore Konti. Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. [Buffalo, N.Y.: Pan-American Exposition Co.], 1901. p.2. Courtesy of Kerry S. Grant. Sculpture at the Temple of Music - Heroic Music. Sculptor: Isidore Konti. Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. [Buffalo, N.Y.: Pan-American Exposition Co.], 1901. Courtesy of Kerry S. Grant �Sculpture at the Temple of Music - Sacred Music. Sculptor: Isidore Konti. Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. [Buffalo, N.Y.: Pan-American Exposition Co.], 1901. p.29. Courtesy of Kerry S. Grant. Sculpture at the Temple of Music - Lyric Music. Sculptor: Isidore Konti. Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. [Buffalo, N.Y.: Pan-American Exposition Co.], 1901. p.29. Courtesy of Kerry S. Grant. �The Assassination of President William McKinley Unfortunately, the Temple of Music has become inextricably linked with the assassination of President William McKinley. The President was attending a reception in his honor at the Temple on September 6th when Leon Czolgosz stepped from the crowd and shot McKinley with a 32-caliber handgun. McKinley died eight days later, September 14th. Although the Temple of Music continued to serve its original functions, it had become a site of morbid curiosity for many visitors to the Exposition. The Temple of Music at the Pan-American Exposition. View: Rendering of the interior of the Temple of Music, showing the position of the organ, by the architects Esenwein & Johnson. Source: Kerry S. Grant. The Rainbow City: Celebrating Light, Color, and Architecture at the Pan-American Exposition, Buffalo, 1901. Image from the collection of the Buffalo and Erie Country Historical Society. The Temple of Music at the Pan-American Exposition. View: The interior of the Temple of Music showing the stage with music stands in place, the Emmons Howard organ to the right, and in the foreground, the platform where President William McKinley was shot by Leon Czolgosz September 6, 1901. The floor is marked at the spot where the President was standing. Photographer: C. D. Arnold. Source: Buffalo's Pan­ American Exposition by Thomas Leary and Elizabeth Sholes with the Buffalo and Erie County Historical Society, Charleston, SC : Arcadia Publishing, c1998, p. 123. �The Temple of Music at the Pan-American Exposition. View: Rendering of the interior of the Temple of Music, main entrance. Artist: unidentified. Source: McHenry, Katherine V. "Color Scheme at the Pan-American." Brush and Pencil, v. 3, no. 8 (June 1901), p. 152. �The Temple of Music at the Pan-American Exposition. View: A candid photograph of the interior of the Temple of Music, showing the organ pipes on the left. Photographer: Unidentified. Source: Music Library. University at Buffalo, the State University of New York The Temple of Music at the Pan-American Exposition. View: Architectural drawing of the Temple of Music. Source: "The Music Hall of the Pan-American Exposition." Engineering Record, vol. 43, no. 6, (Feb. 9, 1901) pp.132-134. Images of the interior of the Temple of Music, including (above center) the spot where the President McKinley was shot. �The postcards below are two of many printed that linked "the martyred President" with the image of the Temple of Music. The Temple of Music at the Pan-American Exposition View: Color Postcard of the Temple of Music. Published by F. F. Rick & Cie., [1901?]. Source: Music Library. University at Buffalo, the State University of New York. The Temple of Music at the Pan-American Exposition. View: Color Postcard of the Temple of Music, with inset of President William McKinley. Published by Retrograph Co., [1901?]. Source: Music Library. University at Buffalo, the State University of New York. �Bandstands There were five bandstands on the grounds of the Pan-American Exposition. These included the Plaza bandstand, north of the Electric Tower, the East and West bandstands in the Esplanade near the Temple of Music, the Casino bandstand on the shore of the lake close to where the Casino building stands today, and another bandstand on the lake near what is now the Albright-Knox Art Gallery. The heavy schedule of band performances kept these bandstands in almost constant use throughout the Exposition. Return to the introduction page to see a map of the bandstand locations. Plaza Bandstand Plaza Bandstand. View: The Plaza, with its bandstand in a sunken garden, just north of the Electric Tower. The view is eastward towards one of the two restaurants that bordered the Plaza. The Propylaea is on the right. Photographer: Unidentified, probably C. D. Arnold. Source: Music at the Pan-American Exposition: Organists, Orchestras, Bands, 1901. Courtesy of Kerry S. Grant. �Plaza Bandstand Closeup. View: Close-up of the bandstand in the Plaza showing the ornately detailed columns and roof. Photographer: Unidentified, probably C. D. Arnold. Source: Music at the Pan-American Exposition: Organists, Orchestras, Bands, 1901. Courtesy of Kerry S. Grant. Plaza Bandstand Looking Southeast. View: The Plaza bandstand with the Stadium entrance and restaurant, and Agriculture Building to its left. The smaller buildings as drink concessions. Photographer: Unidentified. Source: Pan-American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901. Courtesy of Kerry S. Grant. �Illuminated Plaza Bandstand with Electric Tower. View: The Plaza bandstand illuminated in night scene with Electric Tower behind it. Photographer: Unidentified. Source: Pan­ American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901. Courtesy of Kerry S. Grant. Plaza Bandstand with Electric Tower. View: The Plaza Bandstand with the Electric Tower in the background. Photographer: Unidentified. Source: The Rand-McNally Photo-Views of the Pan-American Exposition: A Choice Collection of Illustrations of the Main Points of Interest at the Rainbow City, Including Buildings, Statuary, Electrical Effects, Landscape, and Midway Scenes. Chicago: Rand, McNally & Co., 1901. Courtesy of Kerry S. Grant. �Plaza Bandstand Illuminated. View: The Plaza Bandstand illuminated at night. The Propylaea is in the background. Photographer: Unidentified. The bandstands at the Pan-American were designed by J.M. Lyall of New York. He, like many of the young, fledgling architects employed at the Exposition, was assigned the responsibility of designing minor constructions. A recent graduate of the Ecole de Beaux-Arts, Lyall and his "untried" colleagues hoped that their work at the Exposition would gain them notice. Lyall's bandstands were "circular pavilions roofed over in shell-like fashion and reminiscent of the fantastic effects achieved in the larger structures built at the the Paris Exposition in 1900. Completely in keeping with the festival nature of the Pan-American, the unassuming bandstands expressed more immediately the gaiety of a temporary city than the more developed, larger buildings."1 �Esplanade Bandstands: East and West Esplanade Bandstands. View: Looking South from the Electric Tower, this photograph was taken at a height of over 300 feet. It shows the buildings around the Court of Fountains, including the Temple of Music on the right and the Ethnology Building facing it on the left. The Esplanade, with both its bandstands, is also visible. Photographer: C. D. Arnold. Source: The Pan-American Exposition Illustrated, by C. D. Arnold. Buffalo, N.Y., 1901. p. 26. Courtesy of Kerry S. Grant. East Esplanade Bandstand. View: The East Esplanade bandstand looking towards the Triumphal Bridge. Photographer: C. D. Arnold Source: The Pan-American Exposition Illustrated, by C. D. Arnold. Buffalo, N.Y., 1901. p. 40. Courtesy of Kerry S. Grant. �East Esplanade Bandstand - Illuminated. View: The East Esplanade bandstand illuminated in night scene, with Ethnology Building behind. Photographer: Unidentified (C. D. Arnold?). Source: Kerry S. Grant. The Rainbow City: Celebrating Light, Color, and Architecture at the Pan-American Exposition, Buffalo 1901, p. 111. Photo from the collection of the Buffalo and Erie County Historical Society. West Esplanade Bandstand Illuminated. View: The West Esplanade bandstand illuminated in night scene, with Temple of Music and Electric Tower. Photographer: Unidentified. Source: Pan-American Souvenir by Charles Cutter, Niagara Falls, N.Y.: Charles Cutter, 1901 Courtesy of Kerry S. Grant. �Casino bandstand with the Albright-Knox Art Gallery in background. This postcard scene is probably dated between 1904 and 1910. Reference 1. Joann Marie Thompson. The Art and Architecture of the Pan-American Exposition, Buffalo, New York, 1901. Unpublished dissertation, Rutgers University, The State University of New Jersey, 1980. pp. 75-76. �Sheet Music of the Pan-American Exposition There has always been a component of the American sheet music industry that capitalized upon current events to increase sales. The Pan-American Exposition was not excluded from this practice. At least three dozen compositions were written to celebrate some aspect of the Exposition or to commemorate the death of President William McKinley. This output includes works by band leaders such as Thomas Preston Brooke, John Philip Sousa, and Francesco Fanciulli, who came to the Exposition to perform with their bands. Sheet music at the turn of the century was still prevalently issued in the larger format with illustrated title pages. The illustrations include portraits of band leaders and dignitaries, views of Exposition buildings and scenes, and general boosterism for the Exposition and the city of Buffalo. • Songs • Laments for McKinley • Piano Music Songs Are You a Buffalo? Words by Edward P. Moran ; music by Harry von Tilzer. New York : Shapiro, Bernstein & Von Tilzer, c1901. At head of title: The craze of the century. Color illustration with four buffalo head Order of Buffaloes insignia surrounding a photographic portrait of Carroll Johnson by Bushnell. A second copy has a photographic portrait of Lew. Dockstader on the same background. Courtesy of the Buffalo & Erie County Public Library. �At the Pan-American Fair in 1901 / by Theo. Douglas. [Buffalo, NY] (45 North Division St.) : Graser Bros., printers, c1899. Issued with: Two Boys in Blue : dedicated to the 13th Reg't., U.S. Infantry / by Edward C. Koeppen. Includes 7 p. of advertisements for local merchants and 1 p. story of the 13th Regiment's part in a battle on San Juan Hill. Courtesy of the Buffalo & Erie County Public Library. At the Pan-American Fair in 1901, By Theo. Douglas. [Buffalo, NY] (45 North Division St.) : Graser Bros., printers, c1899. Issued with: Two Boys in Blue : dedicated to the 13th Reg't., U.S. Infantry / by Edward C. Koeppen. Includes 7 p. of advertisements for local merchants and 1 p. story of the 13th Regiment's part in a battle on San Juan Hill. Courtesy of the Buffalo & Erie County Public Library. Don't Put Me Off at Buffalo Any More, Words by William Jerome ; music by Jean Scwartz. New York : Shapiro, Bernstein & Von Tilzer, c1901. Color illustration of four scenes depicted in the song, two scenes of the 1901 Pan-American Exposition in Buffalo, and a photographic portrait of Maude Nugent. Courtesy of the Buffalo & Erie County Public Library. Hurrah for Buffalo, 1901 : Souvenir Song, Words and melody by Myron Fowler Near ; harmony by Mary Holden Near. Buffalo (269 Main St.), N.Y. : Denton, Cottier and Daniels, c1901. Negative print (white on dark blue). Illustration: �small images of Niagara Falls, a buffalo head, and the Electric Tower at the Pan-American Exposition. Courtesy of the Buffalo & Erie County Public Library. The Lilliputian Queen, By Erwin C. Koeppen. [S.l.] : E.C. Koeppen?, c1901. "Respectfully dedicated to Chiquita, the doll lady". At head of title: "The Mascot of the Pan-American Exposition." Back cover contains advertisements for Bostock's Great Animal Arena at the Pan­ American Exposition. Pan. Pan. Pan., Words by Will. D. Cobb ; music by Gus. Edwards. New York : Howley, Haviland & Dresser, c1901. Dedicated to "The Kid." Color illustration of three women and two men entering the grounds of the 1901 Pan-American Exposition in Buffalo. Two black and white photographs of the composer and lyricist are in the lower corners. Courtesy of the Buffalo & Erie County Public Library. Put Me Off at Buffalo : the One and Only Buffalo Song, Words by Harry Dillon ; music by John Dillon. New York : M. Witmark & Sons, c1895. Plate no. 2024. At head of title: "The souvenir song of the Exposition." Color illustration: four stereotypical representations of five ethnic groups, African, Turkish, Native American, Asian, and Southern American. Courtesy of the Buffalo & Erie County Public Library. �A Trip to Buffalo : A Musical Extravaganza. In Buffalo, Lyrics by Harry B. Marshall ; music by William Loraine. New York : M. Witmark & Sons, c1901. Plate no.: 3908-3. Color illustration of gondolier boats on canal at the 1901 Pan-American Exposition in Buffalo, with the Exposition grounds in the background. Courtesy of the Buffalo & Erie County Public Library. A Trip to Buffalo : AMusical Extravaganza. Maidie Come Be My Lady, Lyrics by Harry B. Marshall ; music by William Loraine. New York : M. Witmark & Sons, c1901. Plate no.: 4552-4. Color illustration of gondolier boats on canal at the 1901 Pan-American Exposition in Buffalo, with the Exposition grounds in the background. Courtesy of the Buffalo & Erie County Public Library. A Trip to Buffalo : A Musical Extravaganza. An Oriental Maid, Lyrics by Harry B. Marshall ; music by William Loraine. New York : M. Witmark & Sons, c1901. Plate no.: 3902-3. Color illustration of gondolier boats on canal at the 1901 Pan-American Exposition in Buffalo, with the Exposition grounds in the background. Courtesy of the Buffalo & Erie County Public Library. �A Trip to Buffalo : Descriptive, by Theo. Bendix. New York : M. Witmark & Sons, c1901. Plate no.: 3848-6. Green, white, and black title page illustration of a traveler arriving at the Pan American Exposition of 1901 in Buffalo, New York. Courtesy of Brenda Battleson. Laments for President William McKinley Just as composers participated in the celebration of the Pan-American Exposition by composing music about or dedicated to the Exposition, so did many write music to commemorate the death of President William McKinley. Beautiful Isle of Somewhere, Music by J. S. Fearis ; words by Jessie Brown Pounds. Chicago : Forster Music, c1901. Three arrangements in one copy: soprano solo with organ or piano acc., quartet of men's voices, or a quartet of women's voices. At head of title: As sung at the funeral of our martyred president William McKinley by the Euterpean Quartette. Illustration: photograph of William McKinley in center over photographs of members of the Euterpean Quartette, Harriet Levinger, FannieLevinger, Jeannette Bauhof, and Katherine Baehrens. The photographs are set within a decorative frame, lithographed by Falk & Co. University at Buffalo, The State University of New York. Music Library. A Hymn, Words and music by Milton H. Kohn ; arr. by Lee Orean Smith. New York : Vandersloot Music Co., c1901. Illustration: portrait of President William McKinley / drawn by A. J. Dewey. Courtesy of the Buffalo & Erie County Public Library �McKinley's Memorial March : in memory of our late beloved President, Arranged by Harry J. Lincoln. Williamsport, Pa. : United States Music Co., c1901. Text of poem: In memory of our beloved President / by C. A. Mulliner on p. [2]. Illustration: photograph of William S. McKinley. University at Buffalo, The State University of New York. Music Library. Our Country's Loss, Words composed and music arranged by Mrs. Harry D. Hedger. Boston, Mass. : Mrs. Harry D. Hedger, c1902. Illustration: photograph of President William McKinley set between two U.S. flags and a photograph of Mrs. Harry D. Hedger, captioned "First lady cycle rider in the U.S.A." University Archives. University at Buffalo, The State University of New York. President Wm. McKinley's Favorite Hymns : words and music., Nearer, my God, to Thee and Lead Kindly Light. Chicago : Edwards Deutsch & Heitmann, 1901. Illustration: portrait of Pres. William McKinley set inside wreath, below eagle holding U.S. banner. Brief biography of McKinley on back cover. University at Buffalo, The State University of New York. Music Library. �Piano Music The Buffalo March : For the Piano, By Thomas Preston Brooke, conductor of the Chicago Marine Band. Cincinnati : John Church Co., c1901. Plate no.: 13882-4. At head of title: "Dedicated to the Pan-American Exposition." Illustration: a portrait of Thomas Preston Brooke set inside wreath and a buffalo jumping through the letter B in the title. Courtesy of the Buffalo & Erie County Public Library. The Electric Century March and Two Step, By F. Fanciulli, Bandmaster 71st Reg't Band. New York : W. Paris Chambers, c1901. "Respectfully dedicated to the Hon. W.I. Buchanan, Director General, Pan- American Exposition 1901." Color illustration: the Electric Tower at the 1901 Pan-American Exposition in Buffalo. Courtesy of the Buffalo & Erie County Public Library. Exposition March and Two Step, By W. Franklin Hartenstine. Buffalo, N.Y. (269 Main St.) : Denton, Cottier & Daniels, c1900. At head of title: To the directors of the Pan­ American Exposition. Color illustration: the official medallion logo of the 1901 Pan-American Exposition in Buffalo / Raphael Beck, pinx. Courtesy of the Buffalo & Erie County Public Library. �From Mexico to Buffalo : March, Composed by A.F. Weldon. Chicago, Ill. : N. Nelson, c1901. Illustration: oval photographs of the Castle of Chapultepec, the National Palace, City of Mexico, and Francisco E. Lacroix, in setting with Mexican and United States flags. University at Buffalo, The State University of New York. Music Library. The Invincible Eagle March, By John Philip Sousa. Cincinnati : John Church Co., c1901. Plate no. 13962-4. Illustration: portrait of Sousa. Courtesy of the Buffalo & Erie County Public Library. March of the Buffaloes : Two-step, Composed by Fred. L. Ryder. Chicago : McKinley Music, c1901. Illustration: a herd of buffalo. University at Buffalo, The State University of New York. Music Library. The Pan-American Cake Walk, By Harry J. Weiler. Buffalo, N.Y. : Harry J. Weiler, c1900. At head of caption title: Respectfully dedicated to the directors of the Pan American Exposition, 1901, Buffalo, N.Y. Color illustration: a buffalo set within a frying pan inside a red, white, and blue banner, with eagle atop. Courtesy of the Buffalo & Erie County Public Library. �The Pan-American : characteristic March and Two-Step, Composed by Estelle Edwards. Baltimore, MD. : Cohen & Hughes, c1901. At head of title: Respectfully dedicated to Hon. Chas. B. Aycock, Governor of North Carolina. Color illustration: Native American holding a globe in which the title is set / Rickert. Courtesy of the Buffalo & Erie County Public Library. Pan-American Exposition March : Two-step, op. 29, By H. Geo. Evans. With 2nd work by Evans: D.M. V. March : Two-step, op. 28Johnstown, Pa. : Pepper-Evans Music Co., c1901.Illustration: inset photo. of H. Geo. Evans University at Buffalo, The State University of New York. Music Library. Pan-American Exposition March and Two Step, Composed by E. B. Ralph. Buffalo, N.Y. (269 Main St.) : Denton, Cottier & Daniels, c1898. "Dedicated to Fred. C. M. Lautz, Buffalo, N.Y." Issued in 1898 with title page illustrated with photographic portraits of J. M. Brinker, Pres. And Fred. C. M. Lautz, Treasurer of the Pan-American Exposition Co. Issued in 1901 with photograph of sculpture by Isidore Konti titled "Gay Music", exhibited at the Pan-American Exposition in the Temple of Music. Courtesy of the Buffalo & Erie County Public Library. �Pan-American Exposition March and Two-Step, By Hans S. Liné. Chicago : Windsor Music, c1901. Color illustration: drawings of three buildings from the 1901 Pan-American Exposition in Buffalo: the U.S. Government Building, the Albright Art Gallery, and the Service Building. Courtesy of the Buffalo & Erie County Public Library. Pan-American Exposition: Three Step, Composed by Ida A. Gethoefer. Buffalo, N.Y. (269 Main St.) : Denton, Cottier & Daniels, c1898. "Dedicated to Johannes Gelbke." Color illustration: image Native American in headdress set inside a frying pan. Courtesy of the Buffalo & Erie County Public Library. Pan-American March : Buffalo 1901, By Edward D. Anderson. Washington D.C. : Sanders & Stayman, c1899. At head of title: To the Board of Directors Pan-American Exposition. Color illustration: photograph of a buffalo. Courtesy of the Buffalo & Erie County Public Library. Pan-American March : for piano, op. 44, By D. F. Bradley. Utica, N.Y. : D.F. Bradley, c1901. University at Buffalo, The State University of New York. Music Library. �The Pan-American March, op. 195, By B. P. Austin. Hammondsport, N.Y.: Hammondsport Music Co., c1901. "Dedicated to the Exposition at Buffalo, N.Y." Illustration: photograph of the United States Government building at the 1901 Pan-American Exposition. Set on red, white, and blue background. Courtesy of Kerry S. Grant. Pan-American : March and Two Step, By James. H. Austin. New York : Richard A. Saalfield, c1901. Illustration: drawing of North and South America shaking hands, symbolized by George Washington and Simon Bolivar. University at Buffalo, The State University of New York. Music Library. Pan-American March and Two-Step, Composed by E. R. Wright. Fargo, N.D. : Stones Music House, c1900. At head of caption title: To the Pan-American Exposition, Buffalo 1901. Color illustration: photographic portrait of the composer (?) set inside a medallion on a ribbon. University at Buffalo, The State University of New York. Music Library. Pan-American : Two-step and March of 1901, By Homer R. S. Klock. Stamford, Conn. : Homer R.S. Klock, c1900. Illustration: inset photo. of H. Geo. EvansUniversity at Buffalo, The State University of New York. Music Library. �Pan-American Waltz, Composed by Meranda H. Haussauer. Buffalo, N.Y. (217 Virginia St.) : J.S. & M.H. Haussauer, c1899. Color illustration: map of North and South America. Courtesy of the Buffalo & Erie County Public Library. Panamericana : morceau charateristique, By Victor Herbert. New York : M. Witmark & Sons, 1901. Plate no.: 4551-4. At head of title: to John G. Milburn, Esq. President of the Pan American Exposition Buffalo N.Y. Color illustration: the Pan-American Exposition at night. Courtesy of the Buffalo & Erie County Public Library. Audio: Performance by University at Buffalo faculty member, pianist Stephen Manes. Recorded June 9, 2001, 2:30 p.m. in the Lobby of Slee Hall during June in Buffalo. �Bands at the Pan-American Exposition While only two full orchestras were engaged to perform at the Exposition, at least twenty-six different bands played at the various venues throughout the Exposition grounds. The bands selected to perform included some of the most successful and popular bands in the United States. Among the most significant band directors to bring their ensembles to Buffalo were John Philip Sousa, Thomas Preston Brooke, Jean M. Missud, Patrick Conway, Francesco Fanciulli, Frederick Neil Innes, and Frederick Phinney. Band music was immensely popular at the turn of century in the United States. Professional bands free of military restrictions maintained hectic touring schedules and many towns and cities across the country proudly supported local municipal bands. The repertoire of these bands, especially the professional ensembles with virtuoso soloists, drew heavily upon arrangements of music from opera and the symphonic literature. Many Americans were first exposed to music of Wagner, Verdi, Rossini, Weber, Mozart, Beethoven, and other classical composers through arrangements played by bands. A related essay by Frank Cipolla is also available. The following bands performed at the Exposition: 65th Regiment Band More information from Music at the Pan-American Exposition Sample programs: • Schedule of the 65th Regiment Band - June 22, 1901. Source: Official Daily Program of the Pan-American Exposition - "Smith College Day" (June 22, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 3-4. �• Schedule of the 65th Regiment Band - July 4, 1901. Source: Official Daily Program of the Pan-American Exposition "Independence Day" (July 4, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 4-5 • Schedule of the 65th Regiment Band - July 9, 1901. Source: Official Daily Program of the Pan-American Exposition (July 9, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 3-[4]. 74th Regiment Band More information from Music at the Pan-American Exposition Sample programs: • Schedule of the 74th Regiment Band - June 11, 1901. Source: Official Daily Program of the Pan-American Exposition - (June 11, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 3, 4. • Schedule of the 74th Regiment Band - June 22, 1901 Source: Official Daily Program of the Pan-American Exposition - "Smith College Day" (June 11, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp.2 & 4. �• Schedule of the 74th Regiment Band - July 4, 1901. Source: Official Daily Program of the Pan-American Exposition "Independence Day" (July 4, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. 4. • Schedule of the 74th Regiment Band - July 9, 1901. Source: Official Daily Program of the Pan-American Exposition (July 9, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. [4]-5. Scinta's Band More information from Music at the Pan-American Exposition Page 1, Page 2 Sample programs: • Schedule of the Scinta Band - August 3, 1901. Source: Official Daily Program of the Pan-American Exposition - "Midway Day" (August 3, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. 2. • Schedule of the Scinta Band - August 21, 1901. Source: Official Daily Program of the Pan-American Exposition "Louisiana Day" (August 21, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. 3. �71st Regiment Band More information from Music at the Pan-American Exposition Page 1, Page 2 �Sousa's Band Photograph taken at Paris Exposition, May 12, 1900 From: New York, N.Y. Director: John Philip Sousa Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition Page 1, Page 2, Page 3 John Philip Sousa with the Hawaiian Band Photo credit: n/a. Source: The Cosmopolitan, v. 31, no. 5 (September 1901) p. 504. Is this John Philip Sousa? Two images by C. D. Arnold of a person who resembles Sousa. �Robertson's Band From: Albany, N.Y. Director: Orville A. Robertson Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant Sample programs: • Schedule of Sousa's Band - June 11, 1901. Source: Official Daily Program of the Pan-American Exposition - (June 11, 1901). Buffalo, N.Y.: The Exposition Company, 1901, p. 4. • Schedule of Sousa's Band - June 22, 1901. Source: Official Daily Program of the Pan-American Exposition - "Smith College Day" (June 22, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 3, 5. �Ithaca Band From: Ithaca, N.Y. Director: Patrick Conway Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition Innes' Band From: New York, N.Y. Director: Frederick Neil Innes Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant �More information from Music at the Pan-American Exposition Page 1, Page 2 Sample programs: • Schedule of the Innes Band - October 9, 1901. Source: Official Daily Program of the Pan-American Exposition - "New York State Day" (October 9, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 3-4. • Schedule of the Innes Band - October 17, 1901. Source: Official Daily Program of the Pan-American Exposition - "University of Buffalo Day" (October 17, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 3, 5. 1st Regiment Band Chicago, Ill. Director: J. F. Hostrauser No image available Boston Ladies' Military Band From: Boston, Mass. Director: D. W. Howard Source: Music at the Pan­ American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition �Brooke's Marine Band From: Chicago, Ill. Director: Thomas Preston Brooke Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition Page 1, Page 2 Sample programs: • Schedule of the Brooke's Chicago Marine Band - September 13, 1901. Source: Official Daily Program of the Pan­ American Exposition - (September 13, 1901). Buffalo, N.Y.: The Exposition Company, 1901 • Schedule of the Brooke's Chicago Marine Band - September 26, 1901. Source: Official Daily Program of the Pan­ American Exposition - (September 26, 1901) Buffalo, N.Y.: The Exposition Company, 1901. pp. 4-[5]. �Carlisle Indian Band From: Carlisle, Pa. Director: Joel Bernice Ettinger Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition Sample programs: • Schedule of the Carlisle Indian Band - August 3, 1901. Source: Official Daily Program of the Pan-American Exposition - "Midway Day" (August 3, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p.3. • Schedule of the Carlisle Indian Band - August 21, 1901. Source: Official Daily Program of the Pan-American Exposition - "Louisiana Day" (August 21, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. 4. • Schedule of the Carlisle Indian Band - August 25, 1901. Source: Official Daily Program of the Pan-American Exposition - (August 25, 1901). Buffalo, N.Y.: The Exposition Company, 1901, p.2-4. �Detroit Concert Band Detroit, Mich. No image available Elgin Band From: Elgin, Ill. Director: Joseph Hecker Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition Sample programs: • Schedule of the Elgin Band - July 9, 1901. Source: Official Daily Program of the Pan-American Exposition - (July 9, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p.5 • Schedule of the Elgin Band - August 3, 1901. Source: Official Daily Program of the Pan-American Exposition - "Midway Day" (August 3, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. 2-3. �Kirk's Band Cleveland, Ohio Director: William Kirk No image available Sample programs: • Sept. 5 program Newsboys' Band of Michigan Grand Rapids, MI No image available Sample programs: • Aug. 21 program Phinney's United States Band �From: Chicago, Ill. and New York, N.Y. Director: Frederick Phinney Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition Page 1, Page 2 Sample programs: • Schedule of the Phinney's United States Band - August 21, 1901. Source: Official Daily Program of the Pan-American Exposition - "Louisiana Day" (August 21, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p.3, 5. • Schedule of the Phinney's United States Band - August 25, 1901. Source: Official Daily Program of the Pan-American Exposition - (August 25, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p.2-3, 5. Salem Cadet Band From: Salem, Mass. Director: Jean M. Missud Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant �More information from Music at the Pan-American Exposition Sample programs: • Schedule of the Salem Cadet Band - September 5, 1901. Source: Official Daily Program of the Pan-American Exposition - "President's Day" (September 5, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. 7. • Schedule of the Salem Cadet Band - September 13, 1901. Source: Official Daily Program of the Pan-American Exposition - (September 13, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 2, 4. Weber's Band Cincinnati, Ohio Director: John C. Weber No image available Sample programs: • Sept. 26 program 13th Regiment Band �From: Hamilton, Ontario Director: George Robinson Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition 19th Regiment Band From: St. Catharines, Ontario Director: William Peel Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition �48th Highlanders Band From: Toronto, Ontario Director: John Slatter Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant More information from Music at the Pan-American Exposition Page 1, Page 2 Sample programs: • Schedule of 48th Highlanders Band - August 29, 1901. Source: Official Daily Program of the Pan-American Exposition - "Cuba Day - Medina Day" (August 29, 1901). Buffalo, N.Y.: The Exposition Company, 1901. �First Artillery Band From: Mexico City, Mexico Director: Ricardo Pacheco More information from Music at the Pan-American Exposition Sample programs: • Schedule of the Mexican 1st Artillery Band - June 22, 1901. Source: Official Daily Program of the Pan-American Exposition - "Smith College Day" (June 22, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 3-5. • Schedule of the Mexican 1st Artillery Band - July 4, 1901. Source: Official Daily Program of the Pan-American Exposition - "Independence Day" (July 4, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p.4 • Schedule of the Mexican 1st Artillery Band - July 9, 1901. Source: Official Daily Program of the Pan-American Exposition - (July 9, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. 6. �Havana Municipal Band From: Havana, Cuba Director: Guillermo M. Tomas Source: Cuba en la Exposición pan americana de Buffalo, 1901. Habana: Impr. de V. Lopez Veiga, 1901. The following text from Cuba en la Exposición pan americana de Buffalo, 1901, p. 129-130, makes note of the acclaim this band achieved at the Exposition and elsewhere. It is safe to say that nothing in connection with the Buffalo Exposition attracted greater interest, or contributed more to the pleasure of visitors from all countries and all climes, than did the music of the Police or Municipal Band of the City of Havana. Under the direction of its director, Sr. Guillermo M. Tomas, this band gained a renown in the United States such as has been seldom won by any musical organization from a foreign country. At the opening of the Wisconsin Building, where now famous musicians were invited to contribute to the pleasure of the entertainment, Mr. Tomas, was presented with a gold medal of artistic workmanship as a tribute to his ability as a leader. Another gold medal from the citizens of Boston was bestowed upon him which bears the following inscription "To Capt. G. M. Tomas, for his magnificent interpretation of our 'Star Spangled Banner". A letter which accompanied the present, contains the following. "As Americans and Patriots we have always loved the Star Spangled Banner, but not until we heard it interpreted by you, have we fully appreciated the true inspiration embodied in our own hymn." �The Director General of the Exposition, Mr. Buchanan, in response to requests, not only from commissioners of the various states but from the representatives of the Spanish American Republica, induced this band to give evening concerts in the Central Esplanade during their stay in Buffalo. The celebration of Cuba's day at the Buffalo Exposition will ever be remembered by Cubans and Americans alike, as a pleasurable and significant event, which can but foreshadow happier times to come. Sample programs: • Schedule of the Havana Municipal Band - July 4, 1901. Source: Official Daily Program of the Pan-American Exposition - "Independence Day" (July 4, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p. 4 • Schedule of the Havana Municipal Band - August 29, 1901. Source: Official Daily Program of the Pan-American Exposition - "Cuba Day - Medina Day" (August 29, 1901). Buffalo, N.Y.: The Exposition Company, 1901. Royal Bavarian Band Director: Herr Peuppus �Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901: Index Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901 was the official guide published by the Pan-American Exposition Company. It contains a history of the organ built by Emmons Howard, biographies of seventy-one of the organists who performed at the Temple of Music during the exposition, a schedule of band performances, and brief histories of the major bands performing at the exposition. It also contains images of most of the organists, band directors, soloists, and bands, the Temple of Music and its sculpture, and scenes of the bandstands. Having been prepared before all arrangements had been made for performances, the guide does not contain a complete listing of all organists or bands that eventually performed at the Exposition. "The Coral Harp" - Cover Art for the Guide, Music at the Pan-American Exposition, Organists, Orchestras, Bands. Artist: Alice Russell Glenny. Source: Cover page for Music at the Pan-American Exposition, Organists, Orchestras, Bands. [Buffalo, N.Y.: Pan-American Exposition Co.], 1901. Courtesy of Kerry S. Grant. Indexes • Organists • Conductors • Soloist • Bands and Orchestras • Temple of Music and Other Scenes • Sculpture Depicting Music Indexes to the organists, conductors, soloists, bands and orchestras, images of the Temple of Music and other Exposition scenes, and sculpture in Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901 are available below. �Organists • Allen, Nathan Henry • Lang, Benjamin Johnson • Archer, Frederic • Lawrence, John Porter • Bernier, Joseph Arthur • Maynard, Emily Loucetta • Carl, William C. • McConnell, Mary Florence • Carter, George Buonaparte • Miller, Russell King • Clark, Seth Colegrove • Percy, Richard Truman • Clarke, Robert Alexander Hallam • Radcliffe, Thomas • Clemens, Charles E. • Reed, William • Colson, William Brewster • Riddell, Ione Bush • Corey, N. J. • Riesberg, F. W. • Cushing, Samuel Dayton • Salter, Sumner • Dethier, Gaston Marie • Sanborn, E. Russell • Donahoe, J. Frank • Sans-Souci, Gertrude • Donley, W. H. • Schwartz, William Charles • Dunkley, Ferdinand • Shelley, Harry Rowe • Dussault, J. D. • Simms, Frank Henry • Eddy, Clarence • Smith, Charles Wenham • Fairclough, William Erving • Smith, Gerrit • Falk, Louis • Spenser, Fanny M, • Fisher, Mary Chappell • Stanley, Walter Peck • Flagler, Isaac Van Vleck • Stein, Christian Adolph • Frese, Ernest Gustav August • Sterling, Winthrop Smith • Galloway, Charles • Stewart, H. J. • Garratt, C. Percival • Thunder, Henry Gordon • Gibson, S. Archer • Tipton, James Benton • Gomph, William J. • Truette, Everett E. • Hammond, William Churchill • Tyler, Abram Ray • Heaton, Walter • Vibbard, Henry Leonard • Hendy, Henry Stuart • Vincent, Henry B. • Hewlett, William Henry • Warren, Samuel P. • Houseley, Henry • Webster, Andrew T. • Hunt, Hamlin H. • Wild, Harrison M. • Jarrett, William Sheridan • Wilkins, Herve Dwight • Jepson, Harry Benjamin • Woodman, Raymond Huntington • Jordan, Albert David • York, Francis L. �• Zehm, Harry J. Conductors • Brooke, Thomas Preston • Pacheco, Ricardo • Conway, Patrick • Peel, William • Fanciulli, Francesco • Phinney, Frederick • Hecker, Joseph • Powell, John • Herbert, Victor • Robertson, Orville A. • Innes, F. N. • Robinson, George • Lund, John • Scinta, Serafino • Miller, Justus G. • Slatter, John • Missud, Jean M. • Sousa, John Philip Soloists • Bendell, Alfred S. • Hardy, Grace • Cookingham, Mayo • Yeaton, Belle B Band Schedule, including three bands not listed • First Artillery Band, Mexico City below Innes' Band, New York, N.Y. Ithaca Band, Ithaca, N.Y. Bands and Orchestras • • 13th Regiment Band, Hamilton Ontario • • • 19th Regiment Band, St. Catherines, Ontario • Ladies' Military Band, Boston, Mass. • 48th Highlanders Band, Toronto, Ontario • Pan-American Orchestra, Buffalo, N.Y. • • 65th Regiment Band, Buffalo, N.Y. • Phinney's United States Band, Chicago, Ill., New • 74th Regiment Band, Buffalo, N.Y. • Pittsburgh Orchestra, Pittsburgh, Pa. • Brooke's Marine Band, Chicago, Ill. • Robertson's Band, Albany, N.Y. • Carlisle Indian Band, Carlisle, Pa. • Salem Cadet Band, Salem, Mass. • Elgin Band, Elgin, Ill. • Scinta's Band, Buffalo, N.Y. 71st Regiment Band, New York, N.Y. York, N.Y. �• Sousa's Band, New York, N.Y. Temple of Music and Other Scenes • Temple of Music • Band Stand in Plaza • Temple of Music Interior • Plaza with band stand at center • Temple of Music Organ Sculpture by Isidore Konti depicting music • Gay Music • Heroic Music • Sacred Music �Personal Accounts and Stories Nina Morgana Sang at the Pan-American Exposition as a nine-year old child. She later went on to a successful singing career at the Metropolitan Opera. Her story, with news clippings from 1901. Benita Gray Visited the Pan-American Exposition two times. Her second visit included a performance during the Welsh Day choral competition as a member of the Philharmonic Society of Utica. Her diary account contains numerous references to places and events at the Exposition and in the Buffalo area. Victor Herbert Had close friends in Buffalo (see below) well before the Pan-American Exposition. Selections from his letters about the Exposition reveal concerns about the financial well-being of the Exposition. Henry Toepfer Buffalo violinist, was friends with both Victor Herbert and John Lund (1859-1925; sometimes spelled Lunt). Herbert conducted the Pittsburgh Orchestra at the Exposition; Lund conducted the Pan-American Orchestra, made up of fifty musicians from the New York Philharmonic and Boston Symphony Orchestra. Toepfer was instrumental in getting the Herbert composition, Panamericana submitted to the Exposition music committee. As a result, Panamericana won the award for composition at the Exposition. John Philip Sousa His band were at the Pan-American Exposition June 10-July 7. Sousa played a part in establishing a nightly ritual at the Exposition. However, his account of the events vary from those found in the Final Report of the Pan-American Exposition Company. �Nina Morgana Nina Morgana, coloratura soprano, was born in Buffalo November 15, 1891 (this date has been verified from her birth certificate by James A. Drake; she is listed in the Grosses Sängerlexikon as being born in 1895) at 292 The Terrace. Morgana was known as Baby (or Child) Patti during her early years in Buffalo, after the famous singer Adelina Patti. She sang locally in Buffalo churches and schools from the age of four, but her performances at the Pan­ American Exposition's Venice in America site in 1901 presented her talents to a much larger audience. Morgana auditioned for world-famous tenor Enrico Caruso during one of his concert trips to Buffalo in May 1908. After hearing Morgana sing for him at the Iroquois Hotel, Caruso wrote to Morgana that he would make arrangements for her to study with Teresa Arkel, a legendary soprano and vocal instructor. Morgana went to Italy to study with Arkel from 1909 to 1915. After a successful 1915 debut at La Scala, Morgana joined Enrico Caruso for concert tours of the United States from 1917 to 1919. Portrait of Nina Morgana, ca.1902. This portrait of Nina Morgana appeared in the Buffalo Courier, November 16, 1902, the year after her performances at the Exposition. Photo credit: unknown. Courtesy of the Buffalo & Erie County Public Library. Nina Morgana (center) with other musicians at Venice in America at the Pan-American Exposition, 1901. Photo credit: Undetermined. Source: Richard. H. Barry. Snap Shots on the Midway of the Pan-Am Expo, including characteristic scenes …. Buffalo, N.Y. : Robert Allan Reid, 1901, p.98. Courtesy of James A. Drake. Photograph courtesy of James A. Drake. �Clever Child Vocalist Baby Patti delights all who hear her. Article: "Clever Child Vocalist - Baby Patti delights all who hear her." Source: Photocopy of a 1901 Buffalo Newspaper Clipping - exact source unknown. Courtesy of the Buffalo & Erie County Public Library. Note: While this article reports that she was Favorite At Exposition born in Palermo, Italy, most sources state that Nina Morgana was born in Buffalo. Pretty Little Italian Singer Is The Guest Of Honor At Many Entertainments It is little wonder that Baby Patti, who sings in the Italian Theater and in the Streets in Venice in America is a vorite with all who visit the Midway at fa the exposition. Although she is but nine years old her singing enchants all who hear her. and well deserves for her the famous name of Patti. Baby Patti made her professional debut at the opening of the exposition, but has been well known for her singing, in church and educational circles, ever since site was four years old. She sings mostly in Italian, although a few of her selectios are in English, of which the most beautiful one is " The Holy City." Nina Morgana performing at "Venice in America." Photo Credit: Undetermined. Source: Source: Richard. H. Barry. Snap Shots on the Midway of the Pan-Am Expo, including characteristic scenes . Buffalo, N.Y. : Robert Allan Reid, 1901, p.99. Nina Morgana sang her debut at the Metropolitan Opera in New York in 1920 in the role of Gilda in Verdi's Rigoletto. She remained on the roster at the Metropolitan Opera House until 1935. She married Caruso's secretary, Bruno Zirato, on June 15, 1921. Mr. Zirato later served as Assistant Manager of the New York Philharmonic and as publicity chief of the Colon Opera House in Buenos Aires. Nina Morgana died in Ithaca, N. Y. on July 8, 1986. 1 �The Metropolitan Musical Bureau Presents ENRICO CARUSO In Concert Nina Morgana Suprano Elias Breeskin Violinist Program for Performance by Enrico Caruso and Nina Morgana (cover page only). October 11, 1918 at the Broadway Auditorium, Buffalo, N.Y. Assisting Artists Salvatore Fucito At the Piano For Nr. Caruso Aan Miss Morgana L. T. Grunberg At The Piano For Mr. Bre skin Courtesy of the Buffalo & Erie County Public Library. Friday Evening, October 11th, Broadway Auditorium buffalo. N. Y. Local Director: Mrs. Mes Davis Smith Buffalo's Met Stars- II Newspaper Clipping: "Caruso Told Her That She'd Be a Great Singer." Author: Harvey Elsaesser. Source: Photocopy of scrapbook newsclipping--Buffalo Evening News, May 3, 1969. Courtesy of the Buffalo & Erie County Public Library. Caruso Told Her That She’d Be A Great Singer Nina Morgana Zirato Dies at 94; Served as Caruso's Assisting Artist Nina Morgan Zurato, [il egible], a Buffalo native and the last living person to have sang on the same stage with Enrico [illegible], died Tuesday (July 8, 1980) in Ithaca. Miss Morgana, a noted opera and concert singer with the New York Metropolitan Opera, was the widow of the former managing director of the New York Philharmonic, Bruno [illegible]. Her long singing career was launched during the Pan American Exposition in Buffalo in 1901. "She was billed as "The Baby Patti" and sang for [illegible] while standing in a gondola in the Italian exhibit. She then studied for four years with the legendary Theresa Arkel to Milan. Italy During a Liberty Bond rally in 1917, she met the famed [illegible] Caruso, who was so impressed with her Obituary from Buffalo News, Thursday, July 10, 1986. Nina Morgana Zirato's Obituary.Source: Newsclipping--Buffalo News, Thursday, July 10, 1986. Courtesy of J. Warren Perry. �Diary Account of Benita Gray's Visits to the Pan-American Exposition Introduction In August 1901 Mr. and Mrs. William C. Gray of Utica, N.Y. traveled to Buffalo to attend a Prohibition convention and visit the Pan-American Exposition. They were there several days. Then in September, Mrs. (Benita) Gray returned to Buffalo to sing in the winning mixed chorus from Utica during "Welsh Day" at the Exposition when there was an Eisteddfod (music competition) being held on September 20. She recorded her experiences in a travel journal kept for such occasions. Her granddaughter, Carolyn E. Fix, having inherited her journal, has transcribed the Buffalo portion of her journal for its historical value. Samples of the Handwritten Pages of Benita Gray's Journal. Source: Kindly provided by Carolyn E. Fix, the grandaughter of Benita Gray. Cover of Mrs. William C. (Benita) Gray's Journal. Source: Kindly provided by Carolyn E. Fix, the grandaughter of Benita Gray. Sample 1 | Sample 2 Buffalo, July 31, 1901. After some disappointments we started for Buffalo, Will and I, on the Fast Mail at 2:25 P.M. [from Utica, NY]. Nothing of importance transpired and we arrived in B. at 8:10 after riding on four or five different cars. We found Uncle Simon Staley's(?) house at 834 Prospect Ave. They have a boy Arthur about 7 1/2 years old. They are very comfortably situated. They were not expecting us as they had not received my letter. We visited awhile, then went to bed. Will and I got up at 6 and took a walk out on Front St. to get a glimpse of the Niagara River and Lake Erie; the view was fine. Aunt Sim had breakfast ready when we returned. After eating Will and I went down the street and walked around a little. Then took a car to Con. [Convention] Hall to the National Prohibition Committee. There I saw Dr. Tasely, Mr. L--- , Mr. Long and several others whom I knew. At noon Portrait of Benita Gray with her husband, William Gray, of Utica, N.Y.Photo Credit: G.S. Sandford. Source: Courtesy of Carolyn E. Fix. we went to Allens restaurant for dinner and then went to the Con. in the P.M. Took a trolley and rode up around the Pan Am. Gate and to the �Con. Wrote to Evelina [her daughter, age 6, my mother]. Then went to the Yacht Club home wharf at the foot of Porter Ave. Saw a number of yachts and some large lake steamers. Got back to the house at 11 P.M. In the morning helped Auntie. Then Auntie, Will, Arthur and I went to the Con. and spent the day there until 12:30 A.M. Then went home to tea and left Arthur. [Then went back to the Con. where] we saw John G. Hutchinson of the famous Hutchinson family who used to give concerts as long ago as I can remember. He sang for us. [He was] almost 90 years old. Oliver Stewart gave an address; also Fred Victor of N.Y. City. In the eve was the Grand National Oratorical Contest, which was good but altogether too long. I got very tired. Saturday. [August 3] Auntie, Will, Arthur and I went to the Pan American. Went along the Midway. There were 56,000 people on the grounds, as this was "Midway Day". We went through the Manufactures and Liberal Arts Buildings. After lunch we went with the crowd to the Stadium. There we saw 10,000 homing pigeons liberated, balloon ascensions, races, etc., etc. Electric Tower at Night.Photographer: Arthur Hewitt. Source: Everybody's Magazine, v. 5, no. 26, Oct. 1901, Pan-American Exposition Number, p. 395. Courtesy of Kerry S. Grant. Went into the Temple of Music where the band was playing. Sat and rested awhile. Ate our supper, then went to the Liberal Arts Building awhile. Went and sat in front of the Electric Tower. Of all the beautiful sights our Portions of the Midway Day Program.Source: Official Daily Program of the Pan-American Exposition "Midway Day" (August 3, 1901). Buffalo, N.Y.: The Exposition Company, 1901. eyes ever saw, this beats all we ever heard of. Thought of as dreamed about. In the eve they altogether look like a city of light. We could hardly get away, but we did and sat on the bank of the Lake and watched the beautiful Electric Fountain illuminated by all the colors of the rainbow. Got back to the house about ten. I was quite tired. Sunday [August 4] Wrote a little. Uncle, Will, Auntie and I went to Normal (?) Memorial M.E. Church. Enjoyed the service very much. Mr. wrote to Alma after dinner. In the P.M. we all went to Forest Lawn Cemetery to cousin Frankie's grave. Walked �around a good deal; met Mr. Wordwell. Saw a beautiful lake with hundreds of goldfish in it and swans. Also some fine monuments in glass cases; one of a little girl, one of a young man that died suddenly just as his mother was handing him a rose. Saw the Crematory (?). Then came back to the house and had supper. Auntie, Will, Arthur and I went back to the same church, visited awhile, then went to bed early. Monday [August 5] Will went to find some feather renovators [he was in that business]. We met him at ten o'clock at the foot of Main St. wharf. Took the steamer Superiorand went to Crystal Beach. That is a fine sandy beach on the Canadian side of Lake Erie about 10 miles from Buffalo. There are some fine hotels and a great many cottages there where people are spending their summers. Then we met Mr. and Miss Beechwood of Utica and had our lunch there. The boat was late, so we did not get back to B. till four. Auntie and Arthur went home and Will and I went down to the wharf to see the grain boats and elevators, which was a great sight. Then went through several large dry goods stores and made some purchases. Had soda water in one. Went and sat in the park and rested and ate popcorn. Got home at eight, had a late supper and wrote some. New York State Building. Artist: Unidentified. Source: From a postcard produced by the Niagara Envelope Manufactory, Buffalo, N. Y., 1901. Courtesy of Kerry S. Grant. �Tuesday [August 6] Will and I got an early start to the Exposition. Visited the N.Y. State Building, Life-Saving Station, and South American, Cuba, Mexico, Alaska, Puerto Rico, U.S. Government, and Model Dairy [buildings]. Took a ride on the smallest railroad in the world and wrote our names in the biggest book in the world. Met Auntie and Arthur at 1 o'clock, had our lunch and went in the Manufacturers Building. In the Music Hall heard a grand organ recital. It rained. We visited the Electrical Building. Auntie and Arthur went home early. We had lunch and went around and through the Midway. Got back to the house about 9 o'clock. Saw John Royhill. Wednesday [August 7] It rained in the morn. About 9 we went through the market with Auntie, then Will and I went to the Pan. Went in the East Amherst Gate. Visited the Canadian, Missouri,Agricultural and Railroad [buildings]. Then we went in the Fish Commission. Saw the famous Tiffany diamond worth 100,000 dollars, also his case of jewelry worth 1,000,000 dollars. Went in the New York State Building, saw a lot on the Midway and got home about eight. Quite tired. Wrote to Mrs. Johnson and Eva Jones. Venice in America. Photographer: Unidentified. Source: The Pan-American and Its Midway. Philadelphia: J. Murray Jordan, 1901. �Thursday [August 8] Got up early. Arthur and I took a walk down on Seventh and Front avenues. Then Will and I went up to the Ex. and visited the Ostrich farm, [and the] Agricultural, Penn., N.J., New England, Chile, Ohio, and Minnesota buildings. Had dinner at the Nebraska Sod House. Saw the Art Gallery. Wrote to [several friends], went in Venice in America, Machinery and Manufacturers [buildings]. Had lunch at the Dairy and waited to see the Tiffany Fountain lighted up. Got back to the house at 9 o'clock. My Auntie had a chicken supper. Niagara Falls Friday [August 9] Got up at 6 o'clock, packed my satchels, bade them goodbye. Started for Niagara Falls at 9:35. The sight is a grand one that I shall never forget. Took a ride on the Maid of the Mist; had to wear rubber cloaks. Then Will and I took a ride on the wirtrell (?) Railroad. Also took the Grand Gorge Route, it was a grand ride. Saw the Suspension Bridge. Then went to Lewiston and saw the head of Lake Ontario. Then went back to Niagara Village and took a walk out on the grand bridge to Goat Island. Got our lunch. Took the 3:45 train back to Buffalo and expected to leave for Utica at 5:15, but could not 'till 7:10. Nothing of importance transpired on the homeward stretch, except a hard thunderstorm and a minor accident which detained us about 30 minutes. Arrived in Utica about 1:20 A.M. Sat. morn and at home sweet home at two. Found all safe and sound. Utica, the next Monday cousin Ruth Broadwell and daughter Creta (?) Merriman came and stayed until the next Friday. I went with them. Mina, Evelina and Alma came from Lebanon Sat. the 10th to tea at Edwina's., [to] Mrs. Chas. Griffins of 8 West St. and then to Mrs. Miller at 233 Rutger St. E. [Edwina?] and I went as far as Rome with them and spent the day with Eva [Evalina?]. When we arrived home [201 Howard Ave.] we found "Carrie Nation" and her hatchet at our house. She spent the night with us. [She was the famous radical prohibitionist who traveled around chopping up liquor bars with her hatchet. Therefore Carry Nation �she was not welcome in many hotels and had to stay in private homes. My grandmother was also an ardent Prohibitionist.] The Philharmonic Society gave a supper in the Auditorium. I went and when I got home I found Mrs. Pratt here from New Haven. She stayed a week. The next Tuesday, Glen Leigh came, she stayed 'till Friday. Wed. Mrs. Barker came from Oneida Castle, she stayed one night. Then Mrs. Rowlands spent the P.M. Mag. and a Mrs. Celingman (?) of Chicago called. Nellie and Evelina started for Rome and did not get back 'till Sat. 11 A.M. Aug. 31. Sept. 2. Labor Day. Henry Lee(?) and wife of Webster, Ia, came. They stayed 'till Thursday. Spent most of my time with them. Friday [Sept. 6] President McKinley was shot and wounded at the Pan. Am. In Buffalo. Leon Czolgosz, assassin of President William McKinley. Photographed September 5, 1901 by the Department of Police, Buffalo N.Y. Copy courtesy of the Buffalo and Erie County Histoical Society. President William McKinley.Photographer: Francis B. Johnston. Source: The Life of William McKinley, Including a Genealogical Record of the McKinley Family and Copious Extracts From the Late President's Public Speeches, Messages to Congress, Proclamations, and Other State Papers . New York, P. F. Collier & Sons, 1901. �[Sept. 10] Was my 46th birthday and also my 23rd wedding anniversary. The Philharmonic Society gave a concert at the State Hospital. Friday eve we gave a grand concert at the Auditorium; made our two hundred dollars. President McKinley died at the Milburn House in Buffalo at 2 A.M. Sat. morn., the 14th of Sept. Buffalo, Wed. morn the 18th The Philharmonic Society started for Buffalo at 8:58. The 125 members arrived at our destination at 2:30 P.M. [We then] went to the Ansteth Hotel on the corner of Grant and Military. Later Edwina, Leroy Jones and I went to the Pan American and visited Machinery Hall and the Temple of Music. The Brooks Marine Band [i.e. Thomas Preston Brooke's Chicago Marine Band] was just playing The Sweetest Story Ever Told when we went in. Then we saw the Tiffany Fountain. Met Roy and Lee, had lunch together and went down to the Midway. Went back to our hotel at 11 o'clock and had coffee. Thursday [the 19th] Everything closed on account of the President's funeral We had a rehearsal in Dearborn Street Baptist Church. Then most of the chorus went to Niagara Falls. Edwina and I went up on Prospect Ave. to call on Aunt Staley(?). Found her sick in bed. Went downtown and had dinner at the "Acorn". Went to the top of Ellicott Sq. Then went to see the Milburn Home where McKinley died. Spent the P.M. and eve at Emma Ayres at 128 Norwood Ave. Had a very pleasant time. Got back to the Ansteth at 10 o'clock. Friday morn [the 20th]. Edwina, Leroy, Miss Philpott and I took Funeral cortege of President McKinley on Delaware Avenue, Buffalo.Photographer: Unidentified. Source: A Buffalo, NY newspaper clipping from September 19, 1901. a car for the Ex. Had a lot of fun. Visited the N.Y. State Building, Mines, Horticultural, Government, and Dairy [exhibits], and several State buildings and ate our lunch near the [Nebraska] sod house. Spent most of the P.M. in the Temple of Music at the Welsh Day Eisteddfod [music competition]. Our Cecilians Ladies Chorus of 32 voices won first prize of $175.00. Miss Philpott and I went in �Agricultural Hall and then had a boat ride on the Canal. Met E.[Edwina?], had our lunch and went to the Temple of Music for the evening session. Our Haydens [male chorus] won second prize of $75.00, our Helen Griffith first prize of $10.00 for alto solo and the pieces we [the chorus] sang were "We Never Will Bow Down" [by Handel] and "God So Loved the World" [by Sir John Stainer]. Prof A­ ----- , Adjudicator. The Temple of Music Interior. Artist: Esenwein and Johnson, Architects. Source: Kerry S. Grant. The Rainbow City : Celebrating Light, Color, and Architecture at the Pan­ American Exposition, Buffalo, 1901. Buffalo, N.Y. : Canisius College Press, 2001. From the collection of the Buffalo and Erie County Historical Society. Prof. I. T. Daniel was our conductor [and Daniel Protheroe conducted the Eisteddfod]. And last but not least our mixed chorus of 125 voices, the Philharmonic Society of Utica, sang and won first prize of $1,000.00. (This is the chorus to which I belong). And all of the jollyfications I ever saw, that took the lead. We had coffee and did not go to bed 'till the wee small hours. The house did not quiet down 'till 4 A.M. Welsh DAY. Program For Eisteddfod. 1 2 3 4 5 6 7 8 9 Afternoon Session. Temple Of Music, 2 P. M. Overture. ............. ....... Prof. Edward Broome, Montreal, Canada. Introduction of the Conductor, W. E. Powell (Gwilym Eryri) Chicago, Ill, Address by the President, Rev D. Rhoslyn Davis, Allegheny City, Pa. Singing, “Hen Wlad by Nhadau” Conducted by Prof. Wm. Ap Madoc, Chicago, Ill. Bass Solo Competition, “Now Heaven in Fullest Glory" "Haydn's Creation" Prize $10.00 Soprano Solo Competition, “I Know That My Redeemer Liveth” “Handel’s Messiah” Prize $10.00 Adjudication on Bass Solo Female Chorus Competition, “Lullaby” (Brahm) and “Bridal of the Birds” 1st Prize $175.00, 2nd Prize $75.00, Adjudication on Soprano Solo evening Session, Temple Of Music, 8 P. M. 1 2 3 4 5 6 7 8 9 10 11 12 Overture. .. Prof. Edward Broome, Montreal, Canada. Short Address by the Conductor, W. E. Powell, (Gwilym Eryri), Chicago. Singing, Conducted by Prof. Dan'l Protheroe Tenor Solo Competition, “In Native Worth” “Haydn's Creation” Prize $10.00 Adjudication on Ladies Chorus Male Chorus Competition “song of the Pilgrim” (J. Hayden Morris Mus. Bac 1st Prize $175.00., 2nd Prize $75.00. Adjudication on Tenor Solo Contralto Solo Competition, “He was Despised” “Handel’s Messiah” Prize $10.00 Adjudication on Male Chorus Adjudication on Contralto Solo. Mixed Chorus, Chief Competition, “God So Loved the World” (Sir J. Stainer) and "We Never Will Bow Down" (Handel) 1st Prize $1,000.00, 2nd Prize $150.00 Adjudication on Mixed Chorus Welsh Day Program for Eisteddfod.Source: Official Daily Program of the Pan-American Exposition - "Welsh Day" (September 20, 1901). Buffalo, N.Y.: The Exposition Company, 1901, p.2 The Philharmonics. Popular and Successful Musical Organization. It will be a long time before the re cent achievement of the Utica Philhar monic Society at the Pan-American Eisteddfod will be forgotten. In compe tition with capable singers from other parts of the country they easily carried off first prize, thus winning honor for themselves and reflecting credit upon the city. A Utica Newsclipping: "The Philharmonics". Source: The Saturday Globe, October 8, 1901 �Sat. morn. Edwina, Leroy, Miss Philpott and myself took a car downtown, had breakfast at the "Acorn" and did some shopping. Edwina left us to start for Utica. The rest Amusements. went to the Ex. and visited the Forestry, Indian Village, and Fish Commission [exhibits]. Then we took dinner at the Nebraska Sod House and went in Manufactory Hall. Saw Miss Libbie Ansleth Alaske(?) and met Leroy. We then went to the Johnstown Flood Bazaar and up and down the Midway. We left the grounds early, went to the Hotel and dressed in a hurry. We gave a grand concert in the Convention Hall in the City of Buffalo, which was a "success". Did not get up very early. Sunday. Packed our baggage and breakfasted. Leroy and I took a car and went to the Lake Erie front. Most of our chorus went home early Sunday morn. Called at Auntie's. She and Arthur went back to the Ansteth [Hotel] as she Grand Concert City Convention Hail, (Corner Virginia. St. and Elmwood Arc.) Saturday Evening, Sept. 21, Given by the Prize Winners of the Eisteddfod (Welsh Musical Festival) Selections will be rendered by the male, female and mixed choirs of from 50 to 125 voices each, who win the prizes at the Eisteddfod held in the Temple of Music at the, Pan-American on Welsh Day, Sep tember 20; also solos by the winners of Buffalo Courier, Sept. 19, 1901 Friday and Saturday. and they [the Ansteths?] were old friends and they had a turkey dinner. Then all hands had our pictures taken by J.P. Williams in back of the house. We started for Utica at 3:10 P.M. Arrived here at 9:15 all safe and sound. Took a bath and went to bed at 11. Very tired and with quite a hard cold The Utica, N.Y. Philharmonic Choir, 1901. Photographer: Carl K. Frey. Source: Utica Newspaper Clipping. (Possibly the Saturday Globe?) Benita Gray is visible in the photograph directly behindthe woman in the first row with a dark waist-tie (just to left of center gentleman). Tuesday eve, Oct 1. Had a meeting called to give Prof. Daniel $100.00, Miss Utter, our pianist, $25.00; Bert White Sect. and Mr. William Tree(?) $10.00 each. The balance was then divided equally among the 125 singers [which figures out at $6.84 each]. [The average annual income in 1900 was $400.] �Victor Herbert Victor Herbert and the Pittsburgh Orchestra were hired to perform at the Pan-American Exposition for a period towards the end of the Exposition. Herbert had close friends in Buffalo, including conductor John Lund and violinist Henry Toepfer. But he also had concerns about the financial arrangements with the Exposition Company. These concerns are reflected in some brief letters from Victor Herbert to George Henry Wilson, manager of the Pittsburgh Orchestra.1 June 9th, 1900 Dear Mr. Wilson, Yours of June 7th at hand. As to the Buffalo Expo., 4 or 5 weeks would be very acceptable. It would be best to get September and October time, in one way, on the other hand if the Expo. Is not a great financial success it is much better to get time in the early part of the affair; you're sure of your Victor Herbert money then. I have had experiences of this kind. You will always have to figure in R.R. exp. both ways, no matter what part of the engagement you take. If you charge them $3000 a week on a minimum 4 weeks engagement, as you suggest, it's about right.... The shooting of President McKinley on September 6, 1901 at the Pan-American Exposition heightened Herbert's concerns about financial arrangements with the Exposition Company. He stated the following in a letter written to Wilson September 14th, the day of McKinley's deatth. The deplorable death of the president will certainly settle that one extra week in Buffalo. Under the circumstances we can't expect to get it. They are certainly getting it "in the neck." �Pittsburgh Orchestra. From: Pittsburgh, Pa. Conductor: Victor Herbert. Source: Music at the Pan-American Exposition, Organists, Orchestras, Bands, Buffalo, 1901. Courtesy of Kerry S. Grant. In a September 25th letter to Wilson, Herbert expressed his concerns about being paid for the Exposition engagement. As to the Buffalo engagement I want to say this: Lund with his orchestra played from 2-4 and 8-10. I hope this will be our time too. Since we can't play in the open air, I don't see how or why they should shift us around much. I will send you the program tomorrow. I've had a terrible cold and was unable to do anything but cough and sneeze. I hope that you will see that we get all the advertising we ought to have before we arrive and when we get there. I know that the Buffalo Expo. People are very hard up, and that several of the organizations had the devil's own time to collect the money due them. They are perfectly honest all right enough, but they don't seem to have it! I hope however they will do some business from now on and that we will have no trouble of that kind. After Wilson apparently replied that the contract with the Exposition could be broken, Herbert replied in part with the following on October 1st. What I said about Buffalo was that I knew they had had hard times paying their attractions, but that they didfinally. I don't see how we could ask then now "if the money was all right" at this time. All we can do now is to hope for a better attendance at the fair, and to insist upon prompt payment ... when the time comes. �Victor Herbert's Panamericana Victor Herbert also contributed to the Pan-American Exposition by composing a work, Panamericana: Morceau Characteristique, for the orchestra to perform. The work, dedicated to the President of the Pan-American Exposition, John Milburn, was first played at the Exposition on October 14th in the Temple of Music. In another letter to Wilson, Herbert stated the following about his piece, Panamericana: The piece is of the more popular order and will make a hit. The first part is "supposed" to be "Indian" the second part "ragtime" (modern America) and the trio "Cuban" or Spanish character. Cover Art for Victor Herbert's Panamericana: Morceau Characteristique. Source: Panamericana : morceau charateristique / by Victor Herbert. New York : M. Witmark & Sons, 1901. Courtesy of the Buffalo and Erie County Public Library The program for the October 17th performances by the Pittsburgh Orchestra conducted by Victor Herbert. The evening concert featured the performance of Panamericana. Schedule of Victor Herbert's Pittsburgh Orchestra - October 17, 1901. Source: Official Daily Program of the Pan-American Exposition - "University of Buffalo Day" (October 17, 1901). Buffalo, N.Y.: The Exposition Company, 1901. pp. 4-5. Reference: 1. All of the quotes are from Edward N. Waters's book, Victor Herbert: A Life in Music, New York: Macmillan, 1955. �Henry Toepfer, John Lund, and Victor Herbert The following account was written by Conrad Toepfer Jr., based on recollections of his grandfather, violinist Henry Toepfer: As I write this, I sit under a large framed photograph on the wall of my den. Taken in the early 1890's, it shows members of the Saratoga, NY [Grand Union] Hotel summer orchestra sitting on the hotel's steps. Victor Herbert and my grandfather, Henry Toepfer, are seated next to each other in the second row. Their friendship was the basis for the following Pan American Exposition anecdote. Victor Herbert, Henry Toepfer, John Lund, and other Buffalo musicians at the Grand Union Hotel in Saratoga, New York (early 1900's). Photo credit: unidentified. Source: Photograph kindly provided by Conrad Toepfer Jr.Victor Herbert and Henry Toefer are second and third from the left (respectively) in the middle row of performer. �John Lund directed the orchestra there during the 1890s, beginning in 1892 or 1893. Victor Herbert began conducting the Pittsburgh Orchestra at the hotel in July 1902. Photographer unidentified. Victor Herbert John Lund, Conductor. Photo credit: unidentified. Source: Geschichte der Deutschen in Buffalo und Erie County, N.Y. mit biographien und illustrationen hervorragender DeutschAmerikaner, welche zur Entwickelung der Stadt Buffalo beigetragen haben. Buffalo, N.Y. : Reinecke & Zesch, 1897 (1898 printing). p. 172. Henry Toepfer. Photo credit: unidentified. Source: Cropped from the larger group photograph of Victor Herbert, Henry Toepfer, John Lund, and other Buffalo musicians at the Grand Union Hotel in Saratoga, New York. The photograph was kindly provided by Conrad Toepfer, Jr. Born in Dublin, Ireland, Herbert's father died when Victor was 5 years old. His mother remarried to a German physician and Victor was raised in Germany. Victor was a cellist and my grandfather played violin and viola. The close friendship they formed while attending the Würzburg Musical Conservatory continued during their remaining years in Germany and after they came to the United States. Herbert soon became one of the world's foremost cellists, composing two cello concertos still in the classical music repertory. After marrying Vienna Opera soprano Therese Forrester, Herbert and his wife decided to come to the United States. She was engaged by the Metropolitan Opera and Herbert was hired as the opera orchestra's principal cellist and assistant conductor of the New York Philharmonic. My grandfather had secured an appointment to the Buffalo Symphony and Herbert asked him to make the trip to New York with he and his wife. John Lund, then conductor of the Buffalo Philharmonic, was also conductor of the summer orchestra at the Saratoga Hotel. He engaged my grandfather for those engagements and was seeking a cellist. My grandfather recommended Herbert and the two old friends played together in the Saratoga Hotel orchestra for several summers (conductor Lund is seated in the front of players in the photograph.) In the mid-1890s, Herbert began writing popular music, eventually becoming best known for his operettas. My grandfather wrote Herbert about the competition for a musical theme for the upcoming Pan American Exposition. Herbert composed a piece, entitled Pan Americana, and sent it to my grandfather for his opinion. Although my grandfather urged that Herbert enter it in the competition, Herbert was not certain it could win and asked for its return. �Before returning it, my grandfather copiedPan Americana and entered it in the competition under Herbert's name. The work won the competition and my grandfather was principal violist in the orchestra for the first performance of Pan Americana in the Temple of Music on October 14, 1901. —Conrad Toepfer Jr., 2001 �John Philip Sousa The night-time illumination of the grounds and buildings was perhaps the most extraordinary feature of the Exposition. The thousands of lights, controlled by special rheostats, were lit gradually every evening to reach their full power. Although the following two accounts are contradictory in terms of the musical details, they both attest to the power that the illumination held for people attending the Exposition. John Philip Sousa is the central figure in both accounts. From the Final Report of the Pan-American Exposition Company by William Buchanan. Buffalo, N.Y.: N. P., 1902. One of the incidents connected with the musical features of the Exposition and which became a feature later was the playing of "The Star Spangled Banner" by all bands on the grounds at the moment the lights throughout the Exposition were switched on in the evening. This feature had its origin with Sousa's band, which for three nights played "Nearer My God to Thee" as the lights were being turned. In order that a distinct feature might be created out of the lighting of the Exposition each evening, it was deemed by this office peculiarly appropriate and desirable that our national air should take the place of that piece of music, and an instruction was given Mr. Sousa to that effect; this instruction he at once carried out, and from and after that time all bands were similarly instructed to do so. It thus came about that the music of "The Star Spangled Banner" begun by each and every band on the grounds as the first glow of the hundreds of thousands of electric lights appeared and began to show in fire the outlines of the buildings of the Exposition, became an emotional, uplifting, exquisite feature of the Exposition and one that will undoubtedly linger as one of the most delightful memories of the Exposition with every one who had the pleasure and good fortune to be present at such a time. �From Marching Along: Recollections of Men, Women, and Music by John Philip Sousa. Boston: Hale, Cushman & Flint, 1928. p. 230­ 231. At the close of the Willow Grove season we left for Buffalo and opened there on June 10, 1901 for a month at the Pan-American Exposition. I noticed at our first evening concert that the lights were suddenly dimmed until the grounds were shrouded in darkness; then a little light appeared, the illumination grew steadily, till, brightening and brightening, the full blaze was restored. It was new at that time and had an almost supernatural effect on the watchers. When you burrow deep into the heart of the real America you will discover an intense affection for the old hymn tunes of the churches. Whatever a man's religious convictions, a hymn tune reaches his heart quicker than any other burst of music. Remembering this, I contrived the next evening, when the illumination began to wane, to have the band softly begin, "Nearer My God to Thee', and as the lights grew the band crescendoed and swelled out its power to the utmost. The effect was thrilling! It was afterward the subject of much editorial comment. One paper said, "It was left to the bandmaster to discover the meaning of the John Philip Sousa illumination. The music was inspiring and beautiful." I received hundreds of letters of congratulation, and the crowds flocked to the bandstand. After several days, someone in authority sent me an order to substitute "The Star Spangled Banner" for Nearer "My God to Thee." Now patriotic songs are inspiring only on patriotic occasions; at other times their appeal is purely perfunctory. But, having been trained to obey orders, I played "The Star Spangled Banner" the next night. Morning brought a number of written protests. In three nights the order was revoked and I was requested to resume "Nearer My God to Thee." The official had doubtless found out the real preference of the public. �Ethnic Music at the Pan-American Exposition Performance of music from other cultures was a very popular feature of the Exposition. Musical performances from Japan, the Philippines, Hawaii, Argentina, Italy, Mexico, Africa, and the Middle East could be heard throughout the Midway and cultural exhibits. To the biased ears of contemporary Western listeners these performances must have ranged from new and exotic to bizarre. However, to serious musicians and anthropologists the performances presented an unprecedented opportunity to hear music from these cultures performed by native musicians on native instruments. Band of Mexican musicians in McGarvie's Streets of Mexico in the Midway. Photographer: C. D. Arnold? Source: Kerry S. Grant. The Rainbow City: Celebrating Light, Color, and Architecture at the Pan-American Exposition, Buffalo 1901, p. 87. Photograph from the Collection of the Buffalo and Erie County Historical Society. Band of musicians in the Philippine Village.Photographer: Unidentified. Source: The Pan-American and Its Midway. Philadelphia: J. Murray Jordan, 1901. Courtesy of Kerry S. Grant. Mexican marimba players in McGarvie's Streets of Mexico in the Midway. The four players are identified in the Sept. 27, 1901 Buffalo Courier as brothers Henrique, Julius, Carlos and Adolphus Olivar. They are performing on three marimbas comprising high, middle, and low registers. Photographer: Unidentified. Source: The Rand-McNally Hand-Book to the Pan-American Exposition, Buffalo and Niagara Falls. Chicago and New York: Rand, McNally & Co., 1901. Courtesy of Kerry S. Grant. Hawaiian musicians with John Philip Sousa.Photographer: Unidentified. Source: Cosmopolitan, vol.31, no. 5 (September 1901) p. 504. �Musicians in the Streets of Cairo and Beautiful Orient on the Midway Drummer in the Beautiful Orient section of the Midway attracting customers for a vendor. Photographer: C. D. Arnold. Source: The Pan-American Exposition Illustrated, by C. D. Arnold. Buffalo, N.Y., 1901. p. 90. Courtesy of Kerry S. Grant. Musicians and dancers in "Akoun's Beautiful Orient". Photographer: Unidentified. Source: The Pan-American and Its Midway. Philadelphia: J. Murray Jordan, 1901. Courtesy of Kerry S. Grant. Dance and musical troupe in the Beautiful Orient section of the Midway preparing for a performance.Photographer: C. D. Arnold. Source: The Pan-American Exposition Illustrated, by C. D. Arnold. Buffalo, N.Y., 1901. p. 89. Courtesy of Kerry S. Grant. Musicians and dancers in the Streets of Cairo.Photographer: Unidentified. Source: The Pan-American and Its Midway. Philadelphia: J. Murray Jordan, 1901. Courtesy of Kerry S. Grant. �The Entrance to Akoun's Beautiful Orient. Photographer: A.R. Dugmore. Source: Everybody's Magazine, v. 5, no. 26 (October 1901) p. 435 African musicians in procession through the streets of the Midway.Photographer: Carlos E. Cummins. Source: Courtesy of Buffalo Museum of Science. The African Village in the Exposition's Midway was temporary home to ninety-eight natives of Africa. Fortunately, many of the instruments from African nations were deposited at the Buffalo Museum of Science and are still part of their collections. The collection includes drums, bells, rattles, thumb pianos, a marimba, harps, and guitars from countries that include Dahomey, Gabon, South Africa, and the Congo. �Guitar (Congo?).Photographer: Unknown. Source: Courtesy of The Buffalo Museum of Science. Single Headed Drum - (Dahomey)Photographer: Unknown. Source: Courtesy of The Buffalo Museum of Science. Single-headed drum (Dahomey?).Photographer: Unknown. Source: Courtesy of The Buffalo Museum of Science. 8-stringed Harp (Gabon). Photographer: Unknown. Source: Courtesy of The Buffalo Museum of Science. Detail from single-headed drum (Dahomey?)Photographer: Unknown. Source: Courtesy of The Buffalo Museum of Science All of the African Village images are courtesy of the Buffalo Museum of Science. �Musicians at the Venice in America site in the Midway. Photographer: unidentified Source: Pan-American Exposition Scrapbook [n.p., 1901?]. Courtesy of Kerry S. Grant. �The Organ in the Temple of Music and the Organists Who Performed at the Pan­ American Exposition When it was initially proposed that daily organ recitals be held at the Temple of Music over the course of five months at the Exposition, the reaction of the directors was not enthusiastic. However, principally through the efforts of Simon Fleischmann, a member of the Committee on Music, a successful plan was developed to invite more than seventy organists from the United States, Canada, England, Belgium, and Germany to perform. The committee made a special effort to include noted American women organists as well, and six women were listed in the preliminary guide, Music at the Pan-American Exposition: Organists, Orchestras, Bands, Buffalo 1901, [Buffalo, N. Y.: The Pan-American Exposition Company], 1901. Interior of the Temple of Music, Showing the Position of the Organ. Artist(s): Esenwein & Johnson, Architects. Source: Kerry S. Grant. The Rainbow City: Celebrating Light, Color and Architecture at the Pan-American Exposition, Buffalo, 1901. Buffalo, N. Y.: Canisius College Press, 2001. From the Collection of the Buffalo and Erie County Historical Society. �The history of the organ installed in the Temple of Music is less than clear. It has been reported that the organ was originally ordered from builder Emmons Howard by the St. Louis Church on Main Street, but how it came to be used at the Exposition is not clear. The original cost of the organ was $18,000. Temple of Music Organ. Photo Credit: Unknown. Source: The Tracker, v. 14, no. 2 (Winter 1970). Courtesy of Stephen Pinel. Candid photograph of the Interior of the Temple of Music. Photographer: Unknown Source: Music Images from the Pan-American Exposition, Buffalo, 1901, Music Library, University at Buffalo, The State University of New York. Collection Number: Mus. Arc. 8: Item PA12. Courtesy of Brenda Battleson. After the Exposition the organ was installed in the Elmwood Music Hall, where it was in use until 1938 when the old hall was replaced by Kleinhans Music Hall. The organ was put into storage in the barns on Cassy Street where it deteriorated beyond repair. An article in the May 19, 1942 issue of the Buffalo News reported that the remains of the organ had been sold for $165. Descriptions of the 4-manual organ exist in the Exposition's booklet, Music at the Pan­ American Exposition, Organists, Orchestras, Bands, Buffalo 1901, (p. 4-5) and in Emmons Howard's own pamphlet, The Great Organ in the Temple of Music, Buffalo, N.Y. : built by Emmons Howard & Son, Westfield, Mass., and Buffalo, N.Y. The specifications state that the organ contained a total of 3228 organ pipes, a moderately large organ for its time. Howard utilized the latest in contemporary technology in building the organ, including sforzando and crescendo pedals, an enclosed Choir division, adjustable combination action, and tubular pneumatic action. He was awarded a gold medal at the Exposition for his design. Emmons Howard Emmons Howard was born in Brimfield, Mass. October 1, 1845 and died in Westfield, Mass. on March 18, 1931. After working for noted organ builders William A. Johnson and John Steere, Howard opened his own organ building business in 1883. Although Howard had hoped to parlay the success of the Exposition organ into William J. Gomph �more business contracts, this did not occur and he continued operating a fairly small business until his retirement in 1929. One of the tangential questions regarding the organ in the Temple of Music regards which piece of music was being played by official Exposition organist William J. Gomph at the time Leon Czolgosz shot President William McKinley. Most sources state that Gomph was performing a Bach sonata at the time. However, according to an interview by organist Dr. David Bond with Gomph's daughter Martha Gomph in June 2001, he was quietly playing Robert Schumann's Träumereifrom Kinderscenen. According to the Final Report to the Director-General in the Pan-American Exposition Company Papers, seventy-one organists performed at the Exposition at a cost of only $7000. The Report refers to the five months of concerts as "the most extensive and artistic series of organ recitals ever given in the world." According to the daily programs, 197 organ recitals were given at the Temple of Music by the end of the Exposition. The roster of organists that performed at the Exposition was an extraordinarily rich one. Brief biographies and portraits of the organists, including those listed on this web page, can be found Clarence Eddy in Music at the Pan-American Exposition: Organists, Orchestras, Bands, Buffalo, 1901. The list includes famous American organists, such as Clarence Eddy and Henry Gordon Thunder. It also includes eight organists who were either from or residing in Buffalo: Seth Colgrove Clark, William J. Gomph, who at 23 years of age was appointed official Exposition organist, Henry Stuart Hendy, William Sheridan Jarrett, Emily Loucetta Maynard, Mary Florence McConnell, Gerrit Smith, and Henry Gordon Thunder Andrew T. Webster. Buffalo Organists at the Pan-American Exposition Seth Colegrove Clark Henry Stuart Hendy William Sheridan Jarrett Emily Loucetta Maynard Gerrit Smith �Mary Florence McConnell Andrew T. Webster �Musical Instruments Visitors to the As the largest musical instrument at the Exposition, the Pan-American Exhibition Buffalo, N. Y. Emmons Howard organ in the Temple of Music was the most will see These Piano and also hear the (marvellous invention) Piano Players visible representation of the strength of the American musical Claviola Accenting individual notes instrument manufacturing industry at the turn of the century. The manufacture of pianos was in the midst of an increase that and executing the most difficult and classical music in the Daily Concerts. Advertisement for performances in the "Liberal Art Building". Advertisement for the Ludwig Piano and Claviola Exhibits. Source: n/a would reach its peak in 1909 with more than 364,000 pianos made in that year. The manufacture of reed organs, predominantly made for home use, reached a peak in 1904 with 113,000 built. The manufacture of band instruments was also increasing to meet the demand created by the proliferation of bands throughout the country. The major opportunity for musical instrument makers to display their goods was at the Manufactures and Liberal Arts Building. Approximately twenty instrument makers or suppliers exhibited their wares at this venue, including John C. Haynes & Co., C. G. Conn, Buescher Co., Ludwig & Co., Melville Clark Co., Krell Piano Co., and Kimball Co. The relatively new player piano and organ mechanisms were also on display, with Ludwig and Melville Clark exhibiting new player piano models, and Kimball and Aeolian Co. demonstrating their new models of player organs (with Aeolian displaying in the Mission Building). Another example of a mechanical instrument was the $10,000 orchestrion used in Frank C. Bostock's Midway attraction, the Golden Chariots. The Manufactures and Liberal Arts Building. Artist: Harry Fenn. Source: Reproduced in Pan-American Exposition, Buffalo May 1 to November 1, 1901. Its Purpose and Plan. [Buffalo, N. Y. : The Pan-American Exposition Company], 1901. p.12 �Advertisement: Pan-American Exposition (1901) Styles of Ludwig Pianos. Source: American Songs: A Collection of National Airs, [n.p., 1901]. Complements of Denton, Cottier & Daniels, Buffalo, N.Y., 1901. This songbook advertised all models of Ludwig Pianos exhibited at the Pan-American Exposition. �The Aeolianline of player pipe organs, ranging in price from $3000 to $80000, was designed as an instrument for home use. The organ could be played by using music rolls or the keyboard. The descriptive booklet that Aeolian produced for the Exposition, Music and Art, includes a list of forty-two musical selections available in the catalog of over 10,000 titles. The daily program for the Thursday October 3rd organ recital by Frank Taft in the Mission Building shows musical selections that match those listed in Aeolian's list of available music rolls. This suggests that the performance was most likely one demonstrating the mechanical capability of the instrument rather than a "live" recital performed at the keyboard. Aeolian Pipe Organ Recital. The Aeolian Pipe Organ Recital in the Mission Frank Taft, New York. 1 Prologue "Pagliacci”- 3 Elevation- 3 Polka de la Relate- 4 Le Rouet d'Omphale- 5 Hungarian Dance- 6 Serenade- 7 Selection from Opera, "Kaoru"- 8 Prelude Act 1 "Carmen" Leoncavilo Chaminade Building. Source: Official Daily Program of the Pan­ American Exposition - "Nebraska-Toronto Day" Raff Saint-Saens Brahms (October 3, 1901). Buffalo, N.Y.: The Exposition Company, 1901. p.4. Taft Paderewski Biret Steinway & Sons built a special grand piano as a presentation instrument for New York State and its State Building at the Exposition. The New York State Building was the only building designed as a permanent structure at the Exposition. It still stands today as the Buffalo and Erie County Historical Society building. The piano is adorned with the State Seal on its cover. The black and white photographs below show the piano as it was placed in the New York State Building during the Exposition. Notice the original attached lamp stands, which are now missing. The color photographs, taken with kind permission of the Buffalo and Erie County Historical Society, show the piano as it stands a century later. Piano by the Grand Staircase of the NYS Building - 1901. Photo Credit: Unknown. Source: Report of the Board of General Managers of the Exhibit of the State of New York at the Pan­ American Exposition - transmitted to the Legislature March 27, 1902. Albany, N. Y.: J. B. Lyon Company, State Printers, 1902. �Piano in the NYS Building - 1901. Photo Credit: Unknown. Source: Report of the Board of General Managers of the Exhibit of the State of New York at the Pan-American Exposition transmitted to the Legislature March 27, 1902. Albany, N. Y.: J. B. Lyon Company, State Printers, 1902. Restored Pan-American Piano - 2001.Source: Photographed with kind permission of the Buffalo and Erie County Historical Society, April 2001 Restored Pan-American Piano showing NYS Seal - 2001. Source: Photographed with kind permission of the Buffalo and Erie County Historical Society, April 2001 Restored Pan-American Piano - 2001 - (view 3) Source: Photographed with kind permission of the Buffalo and Erie County Historical Society, April 2001 Restored Pan-American Piano - 2001 - (view 2) Source: Photographed with kind permission of the Buffalo and Erie County Historical Society, April 2001 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Music and Musicans at the Pan-American Exposition of 1901 Description An account of the resource Music was a major component of the many offerings of the Pan-American Exposition in Buffalo, 1901. It encompassed orchestral, band, organ, choral, and ethnic music, as well as performances by noted vocalists and instrumentalists. Displays and demonstrations of instrument manufacturers were also part of the Exposition's musical offerings. Creator An entity primarily responsible for making the resource State University of New York at Buffalo. University Libraries Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context pan-am-music-and-musicians Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Exhibitions--United States--New York (State)--Buffalo Pan-American Exposition (1901:Buffalo, N.Y.) Pan-American Exposition (1901 : Buffalo, N.Y.)--Songs and music Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/a515a18dc568c2a021e6e002442a2958.pdf 662af1508e896003a71be566dd5c3b64 PDF Text Text Health Care and Medical Technology This portion of the exhibit, Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901, provides a fascinating glimpse into the general state of health care and medical technology available at the turn of the century. What could attendees at the Exposition expect in terms of hygiene and health care? Were restroom facilities provided, and were they kept clean? Were doctors and medical equipment available on the grounds? Who drove the ambulance that carried the wounded President McKinley? These pages contain some interesting and less well-known facts about maladies that befell Pan-Am goers, what attendees could expect in terms of health-care and hygiene, the medical equipment available at the time, the caregivers who tended to visitors, and information about other health-related events that occurred on the Exposition grounds. • Lavatory facilities at the Exposition Public comfort and the sanitary conditions of lavatory facilities were a major concern of an exposition that expected to draw close to ten million visitors. • Dr. Roswell Park The enormous task of overseeing daily medical care and disease prevention at the Pan-Am fell to Dr. Roswell Park, Medical Director of the Exposition. • Medical Exhibits Medical exhibits were scattered throughout the grounds and displayed the technical advances of the time. Visitors could find exhibitors showing medical devices ranging from prosthetic limbs for amputees to the pocket sized "Pan­ Am Microscope." Discussed in this portion of Illuminations will be: • o The Infant incubators with real infants o X-ray machines o The Pan-Am Microscope o Food and Health The Emergency Hospital The staff at the Exposition's hospital treated everything from daily cases of diarrhea to President McKinley's gunshot wound, and staff made sure the numerous food vendors adhered to hygienic practices and monitored the lavatory facilities. �• The Exposition Ambulance The Exposition's ambulance, driven by F. T. Ellis, was most famously used to ferry President William McKinley from the Temple of Music to the Exposition hospital after he was shot by Leon Czolgosz September 6, 1901. • International Nursing Conventions Buffalo nurses played a prominent role at nursing conventions being held at the Exposition featuring speakers such as Dr. Anita Newcomb McGee and Lavinia Dock. �The Necessities of "Public Comfort" Supporting the comfort needs of up to 100,000 visitors in the course of a day called for extensive planning. The Pan-American Exposition in 1901 came straight on the heels of the Sanitary Reform movement that started in Europe in the 1840's and which was supported by the rise of bacteriology following the discoveries of Pasteur and Koch in the 1880's. Water and sewer engineering were key factors in this movement. The Exposition Grounds were equipped with over 12,000 linear feet of main sewer lines not including numerous lateral connections. To feed the water supply needs of the grounds, over 75,000 linear feet of domestic water lines were installed.1 Writing for the American Institute of Architects, Thomas R. Kimball notes: "The subject of public comfort is far reaching. It touches on sanitation and the health of the exposition city. Nothing that guards against ill health must be neglected … there must be the most absolutely perfect sanitation and scrupulous care. There should be no such thing as The Public Comfort building. They should be everywhere and counted by the hundreds."2 The Pan-American Exposition installed at least 53 toilet rooms throughout the exhibition grounds. Of these, 8 were considered "outside of buildings" while 45 were placed within larger structures, as the list published in the Buffalo Evening News on June 26, 1901 shows. Facilities were evenly divided to accommodate women and men with some placed adjacent and some widely separated. There were "over 500 closets and urinals" operative by June 1, 1901. Restroom Rants Restrooms were often controversial and appeared to significantly color a visitor's experience of the event. There were allegations of bunco and "petty extortion" by bathroom attendants who reportedly demanded a nickel for use of the facility. There was also apparent confusion over public facilities and those maintained for staff and exhibitor use. An anonymous letter was published in the July 8, 1901 edition of the Buffalo Evening News, p.9, under the heading "Toilet Rooms at the Fair" mentioning that reports about the public lavatory problems were circulating 500 miles away: For the information of strangers as well as for the convenience of citizens, will you kindly state through "Everybody's Column" where the free toilet rooms are located, and why visitors to the Pan-American exposition are subjected to indignities, as well as the annoyances experience, in regard to the toilet room accommodations in the buildings where one would most naturally expect to find them provided. A short time ago I was told by an official, that there was no public toilet for men in the Government Building -- those which were there were for the attendants -- that visitors must go to the Ethnology Building. Yesterday, July 4th, my wife, who was taken sick, left her pocketbook with her friends, and found she could not get into any toilet room in the Manufactures' Building without paying five cents. She was informed by a policeman that there was a public toilet in the Ethnology �Building, where she was obliged to get in line and wait her turn to enter. On the same day I was followed by a porter in a free toilet room and importuned for a nickel, for service which I could not preent being rendered. In behalf of the millions, who we hope will visit the Exposition this summer, "a citizen" prays that the present Ethnology Building be improved. Already one 500 miles away has written, asking if the report circulating there, is true, that visitors to the Exposition grounds are subject to petty extortions for service and accommodation, that health and decency require to be furnished free, at a place of entertainment which is supposed to be properly equipped to accommodate, and expects to receive 100,000 visitors a day within its gates. "A Citizen." Buffalo, July 5, 1901 More Restroom Rants It was reported by Dr. Roswell Park that there were more toilet facilities installed at the Exposition than were eventually utilized by the public. Complaints by "architectural aesthetes" prompted the removal of free-standing facilities incongruous with the overall Pan-American design scheme. An editorial in the Buffalo Medical Journal criticized both the planning that had called for temporary comfort stations as well as appeasement of a few hyperesthetic individuals: It was a most excellent plan to establish "comfort stations" at available points, even of a temporary kind, and it was a senseless act to remove them because a few hyperesthetic individuals objected to them on account of their unsightliness. A large city like Buffalo, with the increased temporary population during the exposition period, would be guilty of a breach of civility did it not provide such accommodations, and the question of architectural beauty might well remain in abeyance util the emergency of the season had passed. We do not attempt to defend the weak policy of spending several thousand dollars in establishing ugly temporary stations, when comely permanent ones should have been provided long ago. Our design is rather to point out not only the absurdity of listening to objectors to the temporary stations now established, but also the equally reprehensible policy of spending money unnecessarily on structures that soon must give place to better ones. Action should have been taken long ago and the city made respectable by the erection of properly constructed accessible stations.3 References 1. Figures from Carlton Sprague, "Some Phases of Exposition Making," American Architect and Building News, v.74 (October 19, 1901) p.20, in Appendix II of Joann M. Thompson's dissertation, "The Art and Architecture of the Pan-American Exposition, Buffalo, New York, 1901," (Rutgers, The State University of New Jersey, 1980.) �2. Thomas R. Kimball, F.A.I.A.,"The Management and Design of Exhibitions," The American Institute of Architects Quarterly Bulletin, (July 1-October 1, 1901) pp.149-158. 3. Buffalo Medical Journal, v.57, (August 1901), p.61-62. �Biography of Dr. Roswell Park [Source: Municipality of Buffalo, New York: a History 1720-1923, v. IV, editor-in-chief Henry Wayland Hill, biographical editor Winfield Scott Downs. Lewis Historical Publishing Co., 1923.]1 Roswell Park, M.D., M.A., LL.D. Dr. Park's life was so full and rich, his accomplishments so large and many that it will ever remain an example of usefulness, yet there can be no doubt that numerous enterprises, planned for the future of Buffalo University, hospital and city, were uncompleted because of his lack of strength and time to carry them forward to completion. The citizens of Buffalo owe to his memory the fulfillment of his plans. At a meeting held by the Council of the University of Buffalo, February 16, 1914, the following resolution was adopted: "By the sudden death of Roswell Park, MD, MA, LL.D., the University of Buffalo loses far more than can adequately be expressed in the words of a brief, formal appreciation, such as this tribute of respect must be. It is not for us so much to measure Dr. Park's high service in this community as a public-spirited citizen, as a versatile yet profound toiler in scientific research, or as a writer whose world-wide fame has conferred distinction upon the home of his adoption, or to recognize and declare the great debt the University of Buffalo owes him as its loyal and generous friend and as Roswell Park, M.D., M.A., LL.D. Photo credit: n/a. Source: The Illustrated Buffalo Express. Buffalo, N.Y. : The J. N. Mathews Company, 1901. its constant and tireless champion. He shared our vicissitudes and aspirations for thirty years, ad he lived to be able to say, as he did to this Council twelve hours before his death, that he rejoiced in the signs of an early consummation of the long-cherished hopes of the University's steadfast friends." Dr. Park was of the ninth generation in New England, of an ancient family, which came into England with "the Conqueror." Sir Robert Parke was the first of the family in New England, who came to Massachusetts in 1630, but soon after moved to Connecticut. Other of Dr. Park's ancestors were Elder Brewster, of the "Mayflowers;" Henry Baldwin, and Colonel Loammi Baldwin, a personal friend of Count Rumford. Six generations of the Park family have had a Roswell, and the son of Dr. Park is the seventh to bear this name. The church, the academy, and the army have chiefly engaged the Parks through several generations, and all three of these callings entered into the life work of Rev. Roswell Park, D.D., father of Dr. Park, of this review. Rev. Roswell Park was a graduate of the military academy at West Point, 1831, and a graduate of Union College, A.B. He was lieutenant in the engineer corps of the army, but in 1836 he resigned, and was professor of chemistry and natural philosophy at the University of Pennsylvania. Later he studied theology, and resigned his professorship �to take holy orders, becoming a priest of the Protestant Episcopal church. He was pastor at Woburn, Connecticut. He also resided in Pomfret, Connecticut, and after a sojourn in Europe, resided in Racine, Wisconsin, where he founded Racine College, and was its president from 1852 until 1859. From 1856 until 1863 he was rector of St. Luke's Church in Racine, then removed to Chicago, Illinois, as head of Immanuel Hall, where he remained until his death in 1869, at the age of sixty-two years. He married Mary Brewster Baldwin, who died in 1854, and they were the parents of Dr. Roswell Park, one of America's most famous surgeons, and the principal character of this review. Dr. Roswell Park was born in Pomfret, Connecticut, May 4, 1852, and died in the city of Buffalo, New York, February 15, 1914. He was educated in private schools at Pomfret; in the grammar school connected with Racine College, Racine, Wisconsin, and at Immanuel Hall, Chicago; also at Racine College, receiving his B.A. in 1872 and MA in 1875. For one year after graduation from Racine College, he taught at Immanuel Hall, Chicago, then entered the medical department of Northwestern University, whence he was graduated MD, class of 1876. He was interne and house physician to Cook County Hospital, and devoted his remaining available time to visiting other hospitals and work in morbid anatomy. In 1879 he was appointed demonstrator of anatomy in the Women's Medical College of Chicago, and in 1880 became adjunct professor of anatomy in the medical department of Northwestern University. In 1883 he resigned to study in Europe, and upon his return from visiting the hospitals of Germany, France and Austria, accepted appointment as lecturer on surgery in Rush Medical college, Chicago, and attending surgeon at the Michael Reese Hospital. Other appointments followed, and in 1892 Lake Forest University bestowed upon him an honorary MD On June 23, 1883, Dr. Park came to the University of Buffalo as professor of surgery, and soon thereafter was appointed surgeon to Buffalo General Hospital. His fame had gone abroad, and he received many flattering offers of high position in other cities, but he was loyal to the University of Buffalo, and declined all of these honors. He accepted an invitation to lecture at the Army Medical School at Washington, having been appointed honorary professor of surgery to that institution, and he served by appointment of President Roosevelt as one of the board of visitors at West Point Military Academy. When the Medical reserve corps was formed, he was one of the first surgeons to receive appointment in this branch of the army, and as yet the only man to serve as surgeon-in-chief to Buffalo General Hospital. There was one great aim of his life which he never achieved; that was to know the nature of cancer, and though he strove hard to attain it, he was fated not to realize his ambition. His interest in this, however, led to the establishment, first in the University of Buffalo, of the Gratwick Laboratory, which became, in 1911, the New York State Laboratory and Hospital for the Study of Malignant Diseases. In 1892 Dr. Park delivered the Mutter lectures on "Surgical Pathology," which were published as a volume, a contribution of lasting importance to the professors. In 1895 he published a work of three hundred pages on the "Surgery of the Head and Brain," ad in 1897 a text-book on the "History of Medicine," based on lectures delivered during 1893 in the University of Buffalo. He was the editor and principal contributor to a two-volume textbook, "Surgery by American Authors," 1896, which ran through three editions, and soon afterward a large textbook, his magnum opus, on "General Surgery." He wrote a great deal for encyclopedias of surgery, pathology and therapeutics, and contributed extensively to current medical literature. Some of the best of his shorter essays, philosophic and historic in nature, are to be found in his book, "The Evil Eye and Other Essays" (1913, with a second edition in 1914). In 1901 the Pan-American Exposition at Buffalo was held, Dr. Park being made the medical director of the Exposition, of its sanitation, its hospitals, and its medical staff. The International Congress on School Hygiene convened in Buffalo in the summer of 1913, Dr. Park being chairman of the committee on �arrangements. He was president of the Medical Society of the State of New York; president of the American Surgical Association; member of the French Society of Surgery; the Germany Congress of Surgeons; the Italian Surgical Society, and other foreign associations, and also was chairman of the American committee of the International Society of Surgery. In 1895 he received from Harvard University the honorary degree of MA, and in 1902 Yale University conferred upon him the degree of LL.D. He was brigade surgeon of the New York National guard, holding the rank of major. Dr. Park married, in 1880, Martha Prudence Durkee, of Chicago, Illinois, who died in 1899. Dr. and Mrs. Park were the parents of two sons: Roswell (7), president of Park, Harrison & Thomas of Buffalo; and Julian2, professor of history in the University of Buffalo. References 1. The text of Dr. Park's entry in Municipality of Buffalo, New York: a History 1720-1923, is reproduced here in full. Courtesy of the Robert L. Brown History of Medicine Collection, Health Sciences Library, University at Buffalo. 2. The papers of Julian Park, who would become the University of Buffalo's Historian and Dean of the College of Arts and Sciences, are held at the University Archives, University at Buffalo. �Medical Exhibits Medical exhibits were scattered throughout the grounds and displayed the technical advances of the time. Visitors could find exhibitors showing medical devices ranging from prosthetic limbs for amputees to the pocket sized "Pan­ Am Microscope." • The Infant incubators with real infants • X-ray machines • The Pan-Am Microscope • Food and Health �Baby Incubator Exhibit at the Pan­ American Exposition in Buffalo As with other attractions at a fair, a "barker" tried to entice people into the "premie" exhibit located in a "neat and artistic" brick building. However, while this "exhibit" took its place among the other "shows" on the Exposition midway, the scientific and educational potential was not overlooked. The following quote appeared in the August 1901 Buffalo Medical Journal under the column "Pan-American Notes:" "The infant incubator at the junction of the Midway and the Mall has a constant stream of people going in and out. There are now 18 babies prematurely born in the incubators and the scientific rearing of these little human beings hanging between life and death by the slenderest thread, is most interesting not alone to scientists, but to the many mothers who go to the exposition. The incubator is in charge of physicians and the babies are cared for by nurses trained for this work alone. One can neglect seeing any other place on the grounds rather than this. It is not alone interesting; it is popularly instructive."1 The "barker" at the Buffalo Pan-Am enticed customers by telling them this exhibit provided hints to mothers and females for the successful rearing of weakly infants. An article from the 1901 edition of Pediatrics stated that the Lion incubators used at this exhibition were made of metal and glass, which allowed for quick and easy cleaning and sterilization.2 The Infant Incubator Building. Photo credit: C. D. Arnold. Source: The Pan-American Exposition Illustrated (Buffalo, N.Y.: C. D. Arnold, 1901) �Infant Incubator Ward. Photo credit: C. D. Arnold. Source: The Pan-American Exposition Illustrated (Buffalo, N.Y.: C. D. Arnold, 1901), p. 101. Each infant was swaddled; a card above each incubator recorded the occupant's initials, date of birth, date of admission to the incubator and other details. The heat in the incubator varied plus or minus 2 degrees Fahrenheit. Fresh outdoor air for the incubator was filtered and warmed before it reached the infant. The babies were fed and cleaned every 2 hours, whether it was day or night. It was claimed in an article from Scientific American, August 3, 1901 that incubators saved 85 percent of the "premies" and weaklings. 3 In another article from Cosmopolitan, Arthur Brisbane compared the baby incubators to the wonders of Niagara Falls.4 Incubator Beginnings The first attempt to construct an infant incubator on scientific principles was made in France in 1878. Although incubators had been patented in Paris by the early 1890s, U.S. physician Edward J. Brown, M.D., having no guidelines or descriptive plans, devised an incubator of his own to save a premature infant born in 1891.5 �Incubator Exhibit in the News The incubator exhibit received serious attention from Scientific American,6 which called it a model nursery. The baby incubator exhibit was in the news for other reasons as well. On July 20, 1901, the Buffalo News reported that a baby had been prematurely born to Apache Indian Princess Ikishupaw and Chief Many Tales. Dr. Couney was called to the Indian Pavilion and had the infant placed in an exhibit incubator. The News reported that at 2 pounds, 2 ounces, it was the smallest baby ever born. On November 7, 1901, The New York Times reported a different type of incident regarding the Baby Incubator Exhibit. According to the article, Couney and his partner did not pay the proceeds agreed upon to exhibit infant Model Nursery. Photo credit: n/a. Source: "Baby Incubators at the Pan-American Exposition." Scientific American, (August 3, 1901) p. 68. incubators at the Pan-American Exposition in Buffalo. A judge had ordered them to pay their share which came to $31,250 and to also pay $75,000 in damages for repudiating a similar agreement for the division of the gross receipts of the incubator show at the coming St. Louis Exposition. After-Effects of the Baby Incubator Exhibit The Children's Hospital of Buffalo purchased the Lion incubators after the exposition ended. Afterwards, Couney went on to have a summer baby incubator exhibit for the next forty years at Coney Island. Couney felt parents did not appreciate the work he was doing for their premature and weak infants. When it was time to send a healthy infant home, it was difficult to convince the parents to take their infant. A pediatrician named Dr. Zahorsky, who oversaw an infant incubator exhibit, did note the effect of hospitalization on both the infant and the parents. We now know that it is not in the baby's best interest to be separated from its parents; neither is it in the parents' best interest. Weighing an Infant. Photo credit: n/a. Source: "Baby Incubators at the Pan­ American Exposition." Scientific American, (August 3, 1901) p. 68. �References 1. "Exhibit of Infant Incubators at the Pan-American Exhibition." Pediatrics v. 12 (1901) pp.414-419. Reproduced on the website Neonatology on the Web at http://www.neonatology.org/classics/panam.html. Last accessed June 28, 2002. 2. "Baby Incubators at the Pan-American Exposition." Scientific American, (August 3, 1901) . Reproduced on the website Neonatology on the Web at http://www.neonatology.org/classics/sciam.html. Last accessed June 28, 2002. 3. Arthur Brisbane. "The Incubator Baby and Niagara Falls." Cosmopolitan, vol. 31, no. 5 (September 1901), pp. 509-516. 4. Edward J. Brown, M.D. "A New Baby Incubator." Medical Record v.41 (April 16, 1892) pp. 446-447. Reproduced on the website Neonatology on the Web at http://www.neonatology.org/classics/brown.html. Last accessed June 28, 2002. 5. "Baby Incubators at the Pan-American Exposition." �X-rays at the Exposition The first medical use of Wilhelm Roentgen's "x-ray light" occurred in 1896, one year after his discovery. Although x- ray apparatus were on display at the Exposition, no one thought to use it on the wounded President McKinley to locate that second elusive bullet. In her 1997 book Naked to the Bone, Bettyann Holtzmann Kevles1 describes the following account McKinley's treatment with regard to the X-ray machines available at the Exposition. …Altogether separate from the hospital was a Science Hall which had an X-ray machine with it's own dry-cell battery on display…. No one suggested using the X-ray machine in the Hall of Science. …After surgery, McKinley was taken to a private home where, for a few days, he seemed to be improving. Thomas Edison dispatched Clarence Dally, his number one X-ray assistant, to accompany his best new X-ray machine from New Jersey to Buffalo. As the train sped north, an independent group in Buffalo set up a sort-of presidential look-alike contest in preparation for Dally's arrival. Fat men lined up in the hope of being selected as the stand-in to test the X-ray for the president. When the X-ray team arrived, Dr. Vertner Kenerson, who boasted the same fifty-six inch waistline as the president, had been selected. Kenerson went to the house where McKinley was supposedly recuperating and, in a room across the hall from the president, lay on his side with a light in front of him and a fluoroscope behind for the twenty minutes it took to get a picture showing "the entire interior arrangement." …McKinley himself had asked to have an X-ray taken as reassurance that the bullet hadn't settled in any vital spot. But his doctors declined, not wanting to subject him to whatever movement he would have to make to get to the machine. …Eight days after the attack, he was dead from gangrene." Basic Components of the 1901 X-ray Machine The chief parts of an X-ray outfit are a static machine, or an induction coil; the vacuum tube with its supporting apparatus; the fluorescent screen or fluoroscope; and the photographic plate. Portable X-ray Machine. Cut of portable apparatus for use on 110-volt circuit. The smaller box contains the coil; the larger, the interrupted electrolytic interrupter, two vacuum tubes, and the tube-holder. The tube­ holder is shown fastened to the smaller box. �The X-rays are produced in the vacuum tube, and this tube may be excited by 1. Static Machine; the two types of which are 1. Influence Machine. Forms of: Holtz, Toepler-Holtz, Voss, Wimshurst. 2. Plante Rheostatic. Form of: Thomson Dynamo Static. 2. Induction coil; the two types of which are 1. Ordinary Page, or Ruhmkorff, coil. 2. Tesla, or high frequency coil. Form of: Thomson coil. Static Machine. Large static machine with four revolving plates 183 cm (6 feet) in diameter, and four fixed plates (6 feet, 4 inches) in diameter. The front of the case has been removed. 1. Static Machine. -The static machine may be driven by hand, or by any form of motor such as an electric or water motor, or a gas engine; and may be self-exciting or be excited by a small Toepler-Holtz or Wimshurst machine. 2. Induction Coil. - The electric current for the induction coil may be obtained from a. Primary battery (low voltage). �b. Storage battery (low voltage): i. Charged by gravity cells; ii. Charged from street main. c. A dynamo which generates a continuous or alternating current of either high or low voltage. d. The street main (high voltage); current continuous or alternating. Ironically, in 1901, the year William McKinley was assassinated, Wilhelm Roentgen was awarded the Nobel Prize for his discovery. Reference 1. Bettyann Holtzmann Kevles, Naked to the Bone : Medical Imaging in the Twentieth Century. New Brunswick, N.J. : Rutgers University Press, 1997. �The Pan-American Microscope 20th Century Wonder One of the so-called "wonders" exhibited at the Pan-American Exposition, promotors claimed that this pocket-sized microscope was going to revolutionize the work of not only medicine, but all professions: This microscope is so concise it can be carried in the pocket. Yet it is so strong in magnifying power that it takes the place of a compound mocroscope. So simple in construction that a child can operate it as well as a medical doctor.... It is useful to the medical man, to the professional man, to the mechanic, to the farmer, and in fact to everyone aloke. It is especially used for the following purposes: To examine blood, water, urine, and all fluids, as well as seeds, minerals, flowers, plants, insects, diamonds, jewelry, plated-ware, coins, bank notes, hard signatures, splinters in the flesh, particles in the eye, and in fact it magnifies anything.... "Agents" of the M.G. Thompson Company of Buffalo, N.Y. and Toronto, Canada promoted the "23 Grand Prize Medals & Diplomas awarded this microscope by the Leading Expositions of the World." It is not clear how the microscope fared at the Pan-American Exposition although with the variety of specimens provided for the inquisitive visitor to inspect using the device, one can assume that it was one of the more interesting exhibits. Pan American Microscope 2Oth Century Wonder. This Microscope is so concise it can be carried in the pocket. Yet it is so strong in magnifying power that it takes the place of a compound microscope. So simple in construction that a child can operate it as well as a medical doctor. It is useful for thou sands of things. There is an education in it for children that cannot be gotten out of books. It is useful to the medical man, to the profes sional man, to the mechanic, to the farmer, and in fact to everyone alike. It is specially used for the following purposes: To examine blood, water, urine, and all fluids, as well as seeds, minerals, flowers, plants, insects, diamonds, jewelry, plated-ware, coins, bank notes, hard signatures, splinters in the flesh, particles in the eye, and in fact it magnifies anything. It is unlike a compound microscope as all objects can be adjusted without mounting them on a slide. Instructions. No. 1. No-2. No. 3. No. 4. Is a case for holding and protecting Nos. 2, 3 and 4. Magnifies by simply placing it on the object. Magnifies all fluidsand small mites by placing them on the Lenz. Is a needle for impaling and holding insects and poisonous matter. 23 Grand Prize Medals & Diplomas Awarded this Microscope by the Leading Expositions of the Would. These are specially prepared specimens to demonstrate the power of this Microscope, as they are not found in all Water, Vinegar, Figs, Prunes, Cheese, &c., &c. Beware of imitations, as all good things are imitated! Agents Wanted everywhere. Enclose stamp for reply. Price $1.00. No more, no less. M. G. Thompson Buffalo, N. Y., and Toronto, Canada. The Pan-American Microscope. Source: Microscope and accompanying pamphlet produced by the M.G. Thompson [Company.] Courtesy of B. Battleson. Engraved on the microscope: "Pan American Exposition -- 1901 Buffalo N.Y. -- Price 1.00" �The Pan=American Microscope was simply a drum-style microscope similar to those invented as early as the mid- 18th century. It differed from traditional microscopes in its compacted size of 2 inches and the lack of a mirror for reflecting light. With no means of adjusting magnification, it was not a very sophisticated "invention" and certainly not the type of instrument that would be used in medicine, despite what it's promoters may have claimed. This "20th century wonder" was, however, typical of the microscopes sold as toys and to hobbyists well into the 1920's. Even so, at the "Price $1.00. No more, no less," it was a rather expensive "toy," so it's "usefulness to the medical man" may have been highlighted to justify the cost.1 An interesting aside with regard to the M. G. Thompson Company: The 1900 Buffalo Directory lists no such company under manufacturers of microscopes although there is a listing for an M. G. Thompson under the heading of "lumber." There are no listings for the name under either heading in the 1898 and 1902 directories.2 In the Official Catalog and Guide Book to the Pan-American Exposition,3 M. G. Thompson was listed in the Exposition Concessions section, with an address of 93 Yonge St., Toronto, Ont. Certainly the M. G. Thompson listed in the Buffalo directory could have been the same company listed in Toronto. It would not be beyond speculation, since temporary relocation of many business into the Buffalo area for the sole purpose of promoting and selling their wares at the Exposition was certainly common. If, indeed, these companies were one and the same, the peddling of both lumber and microscopes would certainly have been a curious combination. References 1. More information on the history of the microscope and microscopy can be found on the Molecular Expressions web site. See Michael W. Davidson, Mortimer Abramowitz's Museum of Microscopy Section at http://micro.magnet.fsu.edu/primer/museum/index.html. This site is maintained by the Optical Microscopy Division of the National High Magnetic Field Laboratory a joint venture of The Florida State University, the University of Florida, and the Los Alamos National Laboratory. 2. The Buffalo Directory, Buffalo, N.Y. : The Courier Company of Buffalo, vols. 1898, 1900, 1902. 3. Official Catalogue and Guide Book to the Pan-American Exposition. Buffalo, N.Y.: Charles Ahrhart, 1901, p. 95. �The Exposition Hospital The Exposition Hospital, also known as the Emergency Hospital, was built upon the insistence of Dr. Roswell Park following his observation of the need for such a facility at other grand expositions. It was constructed in the Spanish Renaissance style, intended to be both useful and ornamental. Dr. Park served as the Director, Dr. Vertner Kenerson as Deputy Director, and Dr. Alexander Allen as Resident Physician. Physically, the hospital building was two stories of two wings each. On the first level, there were two wards for men of 7 beds each and a large ward with 12 beds for women. The first level also housed a physician's office, nurse's office, patient dining room, kitchen, waiting The Exposition Hospital. This rendering of the Exposition Hospital appeared in the 1901 Iris, yearbook of the University of Buffalo. Source: The Iris. Buffalo, N. Y. : , 1901. Courtesy of the University Archives, University at Buffalo. room, operating room, sterilizing room, linen press, morgue and lavatory. The second level covered only a portion of the square footage outlined on the first level and offered housing for the resident physician and necessary attendants. Over the course of the Exposition, some 5400 persons were treated. The building was planned for short term and emergency services with serious cases intended to be transferred on to Buffalo General Hospital where a more comprehensive surgical facility was available. Ironically, physicians not directly affiliated with the hospital elected to utilize the Emergency Hospital's surgical facilities to address President McKinley's mortal wounds. Medical Staff of the Exposition Hospital. The Exposition Hospital was administered by Dr. Roswell Park and many of those staffing the facility were medical students at the University of Buffalo. Image courtesy of the Robert L. Brown History of Medicine Collection held at the University at Buffalo's Health Sciences Library. �The Exposition Hospital With Crowds Gathered. Crowds gather as the wounded President McKinley is taken to the Exposition Hospital, September 6, 1901. Photo credit: C. D. Arnold. Source: The Illustrated Buffalo Express. Buffalo, N. Y. : The J. N. Matthews Company, 1901. The Exposition Hospital Operating Room. Image courtesy of the Robert L. Brown History of Medicine Collection held at the University at Buffalo's Health Sciences Library. See Summary of Treatment at the Exposition Hospital for a report on cases treated during the Exposition. �Summary of Treatment at the Exposition Hospital The following tables are from the Report of the Medical Department of the Pan-American Exposition, Buffalo, 1901.1 • Table I - Classified List of Cases nos. 1 to 5,573 • Table II - Deaths in Pan-American Hospital and Ambulance • Table III - Births • Table IV - Totalsof Patients By Months • Table V - Numbers of Patients Sent to Each Hospital • Summary Table 1.Classified List Of Cases NOS. 1 to 5,573 Continued and eruptive fevers 17 Malaria 7 Diseases of the nervous system 75 Diseases of the circulatory system 162 Diseases of the digestive system 1,971 Diseases of the lymphatic system 14 Diseases of the urinary system 20 Diseases of the generative system (male) 15 �Diseases of the generative system (female) 45 Diseases of skin 111 Diseases of and injury to the eye 247 Diseases of ear 28 Diseases of chest 12 Diseases of throat 205 Heat exhaustion 55 Exhaustion (other) 51 Syphilis 5 Burns and scalds 97 Minor injuries and wounds 1,482 Scalp wounds 80 Sprains 158 Dislocations 5 Gunshot wounds 6 Electric shock 3 �Intoxication 4 Toothache 161 Teeth extracted 43 Fractures 78 Fracture of radius 4 Fracture of clavicle 2 Fracture of fingers 7 Fracture of nose 7 Fracture of arm 11 Fracture of skull 4 Fracture of leg 7 Fracture of foot 2 Fracture of ribs 6 Fracture, Pott's 1 Fracture of toes 3 Fracture of femur 2 �Deaths at Pan-American hospital 4 Total 5,573 TABLE 2. Deaths In Pan-American Hospital And Ambulance • Case No. 2,226 Pneumonia • Case No. 4,175 Apoplexy • Case No. 5,557 Heart Disease • Death in ambulance of man shot during a fracas in the Free Midway. • Baby in Indian Village, died of entero-colitis, treatment being refused. • Premature birth (6 or 7 mos.) in African Village. • Indian baby died, in hospital, on inspiration pneumonia, following inspiration of some grains of partially cooked rice. Deaths By Accident On The Grounds. • One man killed by cars before Medical Bureau was organized. • Case No. 613. Struck by Belt Line train; both legs severed from Body. Killed instantly. • Case No. 631. Fracture of skull. Killed instantly. • Case No. 3,490. Bullet through sternum. Killed instantly. • Case No. 3,568. Fracture of skull. Killed instantly. • Two men killed by electricity. Not taken to hospital. TABLE 3. Births • Two births in Indian Village. • One birth in Filipino Village. �Table 4. Totals Of Patients By Months August 1900 17 September 1900 60 October 1900 86 November 1900 94 December 1900 73 January 1901 92 February 1901 59 March 1901 100 April 1901 167 May 1901 482 June 1901 660 July 1901 1,018 August 1901 1,145 September 1901 954 October 1901 554 �Total: 5,561 Total for construction period up to May 1, 1901 748 Total for Exposition period up to November 1, 1901 4,813 Daily average for construction period 2 Daily average for Exposition period 26 Table 5. Number Of Patients Sent To Each Hospital • Buffalo General -- 36 • Homeopathic -- 8 • German -- 2 • Riverside -- 2 • German Deaconess' -- 1 • Sisters' -- 21 • Total -- 70 Summary Total number of diagnoses 5,572 Total number of persons killed 4 �5,576 Total number of patients treated 5,567 Total number of cases with more than one major injury 9 5,576 Reference 1.Roswell Park, M.D., Report of the Medical Department of the Pan-American Exposition, Buffalo, 1901. Buffalo Medical Journal, (December 1901). �The Pan-Am Ambulance What happened to the man who was likely the first motorized ambulance driver? The Pan-American Exposition Ambulance1 Dr. Nelson Wilson, Sanitary Officer of the Pan­ American Exposition, wrote in "Details of President McKinley's Case", in the October 1901 issue of Buffalo Medical Journal that "The dash (of the ambulance) to the hospital was thrilling and sensational. Mr. F. T. Ellis, who was driving the motor vehicle, handled the steering bar with the utmost skill; no chauffeur however skillful, however expert, ever drove an automobile with more speed and with more wisdom through dangerous places than did Ellis, who is a third-year medical student of the University at Buffalo. The crowd was dense along the route to the hospital and yet, although the machine was driven at top speed, there were no accidents. Inside lay the Chief Magistrate of the United States, carefully attended by Dr. G. McK. Hall and Mr. E. C. Mann, the latter a senior medical student on the staff of the medical department of the Pan-American Hospital." While Frederick T. Ellis, or "Fred T.", is listed in the 1901 medical school yearbook, no reference is made in subsequent issues. The 1915 and subsequent alumni catalogs also do not list Mr. Ellis, suggesting that no degree was conferred. Also, a check of national medical directories from the period did not find Mr. Frederick Ellis listed as a practicing physician. Mr. Ellis was listed as a Niagara Falls resident active in the Athletic Association, football team and Alpha Omega Delta fraternity. Mr. E. C. Mann, senior medical student on the staff of the medical department of the Pan-American Hospital attended President McKinley in the ambulance to the Emergency Hospital. Reference 1. The original photograph of this ambulance is held in the archives of the Buffalo General Hospital and was reproduced in Another Era : A Pictorial History of the School of Medicine and Biomedical Sciences, State University at New York at Buffalo, 1846-1996, Ronald Elmer Batt, et. al., contributors, Virginia Beach, VA : The Donning Company, 1996. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Health Care and Medical Technology at the Pan-American Exposition of 1901 Description An account of the resource This portion of the exhibit, Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901, provides a fascinating glimpse into the general state of health care and medical technology available at the turn of the century. What could attendees at the Exposition expect in terms of hygiene and health care? Were restroom facilities provided, and were they kept clean? Were doctors and medical equipment available on the grounds? Who drove the ambulance that carried the wounded President McKinley? These pages contain some interesting and less well-known facts about maladies that befell Pan-Am goers, what attendees could expect in terms of health-care and hygiene, the medical equipment available at the time, the caregivers who tended to visitors, and information about other health-related events that occurred on the Exposition grounds. Creator An entity primarily responsible for making the resource State University of New York at Buffalo. University Libraries Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context pan-am-health-care-and-medical-technology Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Exhibitions--United States--New York (State)--Buffalo Pan-American Exposition (1901:Buffalo, N.Y.) Medicine--History--20th century Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/c795730f3f3a2a7a7750918e9327218f.pdf 321c0f72a12497edc06103d5cc5b6e46 PDF Text Text Excerpt from the Flag Day address by U.S. Secretary of State John Hay Given June 14, 1901 at the Pan-American Exposition "I am inclined to think that perhaps the waiters and waitresses and some of the rest might be better employed in exchanging ideas among themselves than in listening to the few words that I shall be able to say. Last night, as I looked from my window at this marvelous creation, lined in fire upon the evening sky, and today as I have walked through the courts and the palaces of this incomparable exhibition, the words of the prophet have been constantly in my mind - Your old men shall dream dreams, your young men shall see visions. We who are old have through many hopeful years dreamed this dream. It was noble, inspiring, leading to earnest and uplifting labor. This ideal of the brotherhood of the nations of the Western World is not a growth of yesterday. It was heralded when the country was young by the clarion voice of Henry Clay. It was cherished by Seward and Evarts, by Douglas and by Blaine. Twelve years ago we had the first reunion of the two American republics. Much was said and done, destined to be memorable in John Hay, Secretary of State. Photo Credit: Doubleday, Page & Co. Source: The World's Work, v.2, no.6 (October 1901) p. 1242. our history, opening and blazing the way along the path of peace and fraternal relations. As a means to those ends, as a concrete realization of those generous dreams which have led us thus far, we have this grand and beautiful spectacle, never to be forgotten, a delight to the eyes, a comfort to every patriot heart that during the coming summer shall make the joyous pilgrimage to this enchanted scene, where lake and shore and sky, the rich, bright city throbbing with vigorous life, and in the distance the flash and roar of the stupendous cataract, unite their varied attractions in one charm of powerful magic such as the world has seldom seen. All the triumphs of the spirit and of the skilled hands of labor, the garnered treasures of science, the witcheries of art, the spoils of earth and air and sea are gathered here to warn, to delight, to encourage and reward the ever striving, the indomitable mind of man. Here you have force, which enables men to conquer and tame the powers of nature. Wealth, not meant as Tennyson sang, to rest in moulded heaps, but smit with the free light to melt and fatten lower lands. Beauty, not for selfish gratification of the few, but for the joy of the many to fill their days with gladness and their nights with music. And hovering over all the sublime, the well-nigh divine conception of a brotherhood of mutually helpful nations, fit harbinger and forerunner of a brotherhood of man. �Every great achievement in art, in science, in commerce communicates to the universal human spirit a salutary shock which in ever-widening circles spreads to regions the most remote and obscure, to break at last in lingering ripples on the ultimate shores of space and time. Out of a good source evil cannot flow, out of the light darkness cannot be born. The benignant influences that shall emanate from this great festival of peace shall not be bounded by oceans nor by continents." � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Excerpt from the Flag Day address by U.S. Secretary of State John Hay Description An account of the resource A description of June 14, 1901 Flag Day at the Pan-American Exposition in Buffalo, NY. Creator An entity primarily responsible for making the resource State University of New York at Buffalo. University Libraries Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context pan-am-excerpt-from-the-flag-day-address Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Exhibitions--United States--New York (State)--Buffalo Pan-American Exposition (1901:Buffalo, N.Y.) Flag Day--1900-1910 HayJohn1838-1905 Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/e664f03db2cdc460624e58ea59cd2770.pdf 760ce82241d18ae132eaf2daa37f136b PDF Text Text Electricity and Technology This portion of the online exhibit focuses on the generation of hydroelectric power at the turn of the century and the resulting development of electrochemical industry along the Niagara River. One of the widest misconceptions in "exposition circles" is the belief that the development of hydroelectric power at Niagara Falls was catalyzed by the incredible display of incandescent illumination at the Pan­ American Exposition. While the "City of Light" undeniably turned the general public and commercial entrepreneurs on to the idea that electricity could be effectively utilized in the domestic arena, it was industry that spurred development of power plants at the Falls. As Jack Foran points out in his essay introducing Niagara Falls and electricity, the harnessing of the Falls required the identification of a market for such vast amounts of electrical power. "[That] market was to be Buffalo industry," and thus power plants were built and expanded. Indeed, because alternating current generators, transformers and transmission lines were already in place 25 miles away at the Falls, the planners of the 1901 Exposition in Buffalo could build electric trolleys and elevators and illuminate the fairgrounds on a much wider scale than any of their predecessors. One can assume that Buffalo would have become that market for Falls-generated power regardless of whether or not she had hosted the 1901 Pan-American Exposition. The industrial development in the Buffalo-Niagara region during the early 20th century provides plenty of evidence to support such a claim. However, "The Birth of Power" Artist: Willy Pogany. Source: Edward Dean Adams. Niagara Power: History of the Niagara Falls Power Company 1886-1918. Niagara Falls, N.Y.: Niagara Falls Power Company, 1927. the Exposition provided such a memorable and visually inspiring exhibit that it may very well have enlightened visitors and participants to the potential for the use of electricity for more than simply powering furnaces and catalyzing the separation of chemical compounds. Electricity could provide light and after all, everyone needed light. But the panorama of glowing architecture that was the Exposition at night, proved that light could be utilized in a most beautiful way. • Electricity and its Development This section looks at the development of power generation--direct and alternating current--at Niagara Falls. It features information on Nicola Tesla as well as the two major hydroelectric power generators of the period, the Niagara Falls Power Company and the Niagara Falls Hydroelectric Power and Manufacturing Company. • The Electrochemical Industry and Niagara Falls Electrochemical industry grew in and around Niagara Falls because of the relatively cheap supply of abundant power available. This section describes the major companies utilizing this power. �• New Technologies at the Turn of the Century The Pan-American Exposition served in part as the 1901 equivalent of the modern trade show, where companies could exhibit and advertise new inventions and technologies. This section highlights some of 1901's "modern marvels." �Electricity and its Development at Niagara Falls "One of the boldest engineering and commercial feats of the past century, the successful development of the water­ power of Niagara Falls, was the signal for the utilization of water powers all over the world. This masterpiece of nature remains to-day with its beauty and grandeur unmarred, its 8,000,000 horse-power inappreciably affected by the petty thefts of man, and its usefulness enhanced a thousand-fold." --William Andrews, "How Niagara Has Been Harnessed," The American Monthly Review of Reviews, June 1901. By the time planning began for the 1901 Pan-American Exposition in Buffalo, hydroelectric power generation had already been in place at Niagara Falls for nearly a decade. As William Andrews explains in his article "How Niagara Has been Harnessed," a charter had been obtained from the New York Legislature in 1886 to begin developing the water power of the Falls. But those who realized the commercial value of developing the cataracts were also "opposed to the desecration of the most impressive natural object of the world for utilitarian purposes." Add to this philosophy the establishment of the State Reservation at Niagara in 1885 and the result was the design and construction of hydroelectric power plants that were engineering marvels of their day. • Water Diversion, Turbines and Tunnels • The Niagara Falls Hydroelectric Power and Manufacturing Company • The Niagara Falls Power Company • The Cataract Power and Conduit Company • The Westinghouse Electric and Manufacturing Company • The General Electric Company �Water Diversion, Turbines and Tunnels Rather than harness the water power of the Niagara River below the Falls, hydraulic engineer, Thomas Evershed, proposed that the water be diverted via a canal above the Falls through penstocks to vertical shafts housing the turbines. The Evershed Scheme would then channel the water through tunnels running underneath the city of Niagara Falls to be discharged into the lower river. This canal/tunnel method was the means by which the two major power producers in 1901, the Niagara Falls Hydroelectric Power and Manufacturing Company and the Niagara Falls Power Company, both of which supplied electricity to industry in the vicinity of the Falls and throughout Western New York. Power Company Water Inlets. . Photo credit: n/a. Source: Orrin E. Dunlap. "Niagara Falls Power Development and the Pan-American Exposition." Western Electrician, v. 28, no.20, p. 330. This birdseye view shows (1) the inlet of the Niagara Falls Power Company, (2) the inlet of the Niagara Falls Hydraulic Power and Manufacturing Company, and (3) the embankment being constructed on the river above the inlet of the Niagara Falls Power Company to divert ice. The diagram at left illustrates the vertical shafts through which water was diverted from the canals to generator turbines. Penstocks conducted water from the canal through 7 ½ foot steel tubes running from the head gates to the turbine "deck" approx. 140 feet below. After passing the water wheels the water flowed to the exit tunnel which carried it under the city of Niagara Falls at a rate of about 20 mph to the lower Niagara River. While this is an illustration of Niagara Falls Power Company's Power House No. 2, completed in 1904, it is nearly identical to Powerhouse No. 1, which was in operation in 1901, supplying electricity to the Pan-American Exposition. Transverse Section of Power House No. 2. Niagara Falls Power CompanySource: The Niagara Falls Electrical Handbook: Being a Guide for Visitors from Abroad Attending the International Electrical Congress, St. Louis, Mo., September, 1904. Niagara Falls, N. Y. : Pub. under the auspices of the American Institute of Electrical Engineers, 1904. p. 73. �The Niagara Falls Hydroelectric Power and Manufacturing Company General View of Power Development by the Niagara Falls Hydraulic Power and Manufacturing Company. Photo credit: n/a. Source: The Niagara Falls Electrical Handbook: Being a Guide for Visitors from Abroad Attending the International Electrical Congress, St. Louis, Mo., September, 1904. Niagara Falls, N. Y. : Pub. under the auspices of the American Institute of Electrical Engineers, 1904. p. 36. The Niagara Falls Hydroelectric Power and Manufacturing Company (NFHP) was located on the lower river north of Niagara Falls. Sometimes referred to as the "Schoellkopf Plant," after its founder, Jacob Frederick Schoellkopf, this power plant was situated on the bluff of the Niagara Gorge and produced primarily direct current electricity. This plant is a perfect illustration of the influence of industry in the development of power generation at Niagara Falls. NFHP supplied electricity to manufacturers within a 1 mile radius since that was the effective limitation of the transmission of direct current. The generators installed were of various makes, depending upon the industries to which they were supplying power. Surprisingly, the NFHP underestimated the importance of alternating current (AC) production. As AC-driven machinery became more commonplace in industry, the demand increased. Eventually, the NFHP would add generators to produce alternating current. �The Niagara Falls Power Company Power Houses and Transformer House - The Niagara Falls Power Company. Photo credit: n/a. Source: The Niagara Falls Electrical Handbook: Being a Guide for Visitors from Abroad Attending the International Electrical Congress, St. Louis, Mo., September, 1904. Niagara Falls, N. Y. : Pub. under the auspices of the American Institute of Electrical Engineers, 1904. p. 70. The Niagara Falls Power Company (NFPC) was located upriver from Niagara Falls and produced the electricity used not only to power industry in the immediate vicinity of the Falls but also to be transmitted to Buffalo, Tonawanda, Lockport and beyond. This plant is often referred to as the "Adams Plant," named so after Edward Dean Adams, president of the Cataract Construction Company, which erected the original power stations at Niagara Falls and gave financial stability to the NFPC. (Adams would also direct the NFPC.) Unlike the Niagara Falls Hydroelectric Power and Manufacturing Company, which supplied its customers directly, the NFPC was design to be a centralized producer of power only. Other companies would be responsible for transmission and distribution of that power. The NFPC generated alternating current (AC), which, unlike direct current, can be transformed from one potential to another, to a higher or lower electromotive force, through the means of static transformers. The development of AC and step-up/step-down transformers were key to the transmission of hydroelectric power over long distances. The influence of engineers like Nikola Tesla cannot be understated. As Jack Foran points out in a related essay, Tesla did not invent alternating current or the transformer. Rather, he developed the alternating current motor, "making [AC] electricity a feasible industrial commodity." Increase the demand for any commodity and surely the desire to supply that commodity will follow. �The NFPC supplied alternating current through the use of ten Westinghouse AC generators of 5,000 h.p. capacity with 430 cubic feet of water turning the turbines at 250 rpm. This was the capacity of NFPC Power House No. 1. To put this into perspective, the entire Pan-American Exposition was powered by the electricity produced by only one of those ten generators. While a second power station would eventually be constructed across the canal, it was Power House No. 1 that produced most of the AC in the Western New York region at the time of the Exposition. Step-up transformers, allowed for the transmission of that power to Buffalo and other areas via lines owned by the Cataract Power and Conduit Company 22 miles to the city of Buffalo. (See a diagram of the NFPC's "General Scheme of Power Distribution.") From there, the electricity was distributed to consumers, the largest of which were the International Railroad Company and the Buffalo General Electric Company. Interior of Power House No. 2 - The Niagara Falls Power Company. Photo credit: n/a. Source: The Niagara Falls Electrical Handbook: Being a Guide for Visitors from Abroad Attending the International Electrical Congress, St. Louis, Mo., September, 1904. P 88. The Cataract Power and Conduit Company Incorporated in 1896 by William B. Rankine, George Urban, Jr. and Charles R. Huntley, the Cataract Power and Conduit Company won the contract to lay transmission lines from the Niagara Falls Power Company to the city of Buffalo. The objectives of this company were as follow: "... the use and distribution of electricity for light, heat or power within the city of Buffalo, the construction of conduits, poles, pipes or other fixtures in, on, over and under the streets, alleys, avenues, public parks, and places within the city of Buffalo for the conduct of wires and pipes and for conducting and distributing electricity ... " George Urban, Jr. 1 George Urban, Jr. headed the George Urban Milling Company and was involved in banking, insurance and numerous business interests. He was an incorporator and vice­ president of the Cataract Power and Conduit Company and served as an organizer and president of the Thomson- �Houston Electric light company before it was absorbed by the General Electric Company. In 1901 he served on the Board of Managers of the Pan-American Exposition Company and would be a prominent figure in developing the electrical power industry in Western New York. Charles R. Huntley was also an incorporator of the Cataract Power and Conduit Company. However he most famous for his role as president of the Buffalo General Electric Company which would absorb the Cataract Power and Conduit Company in 1915. Huntley appropriately served on the Executive Committee of the Board of Managers of the Pan-American Exposition. See more on Huntley and the Buffalo General Electric Company. Charles R. Huntley The Westinghouse Electric and Manufacturing Company Although famous for his invention of the air brake, George Westinghouse (1846­ 1914) envisioned alternating current as key to the harnessing of electricity and embarked on electrical matters as early as 1885. It was at this time that he acquired the patents for the Gaulard and Gibbs system of alternating current transmission and began research and development using apparatus imported from England. Eventually, Westinghouse recruited engineer Nikola Tesla, acquiring his patents for the polyphase induction motor, and continued to develop the machinery necessary for alternating current production. Edward Dean Adams made this statement with regard to Westinghouse's AC research relative to development of Niagara Power: George Westinghouse "The issuing of the Tesla polyphase patents in May, 1888,was followed a year later by the organization of the Cataract Construction Company [and its affiliate the Niagara Falls Power Company] which undertook the investigation of methods of developing Niagara Power. Niagara plans and alternating-current machinery developed simultaneously and in less than a decade they mutually contributed to the inauguration of modern hydro-electric power service." 2 The 1893 Chicago World's Fair (Columbian Exposition) was a forum for exhibiting Westinghouse's successful technological innovations with regard to alternating current and electrical apparatus. Referring to the spectacular display of lighting at the Westinghouse exhibit, Col. Henry G. Prout wrote: ".the best result of the Columbian Exposition of 1893 was that it removed the last serious doubt of the usefulness to mankind of the polyphase alternating current. The Nikola Tesla �conclusive demonstration at Niagara was yet to be made, but the World's Fair clinched the fact that it would be made, and so it marked an epoch in industrial history." 3 (Westinghouse also had a substantial exhibit at the Pan-American Exposition, although it was the General Electric Company that displayed a working exhibit of the machinery that actually supplied power to the Exposition grounds.) In October 1893, Westinghouse was awarded the contract to build the 5,000 horsepower generators for the Niagara Falls Power Company's Power House No. 1 as well as all auxiliary electrical apparatus, including exciters, measuring instruments and switching devices. Transmission of alternating current electricity from Niagara Falls to Buffalo began in 1896, and was well in place by the time plans began for the Pan-American Exposition in 1901. The General Electric Company may have distributed the electricity to illuminate the grounds of the Exposition, but it was a Armature of a 5000 Horse-power Westinghouse Generator. Photo Credit: n/a. Source: Edward Dean Adams. Niagara Power: History of the Niagara Falls Power Company 1886-1918. Niagara Falls, N.Y.: Niagara Falls Power Company, 1918, p. 200. Westinghouse generator that produced that power. Numerous individuals had contributed to the success Westinghouse's involvement in Niagara power development. The more prominent of these were William Stanley, the pioneering electrical inventor who had done early AC research for Westinghouse, electrical engineers Lewis B. Stillwell, Benjamin G. Lamme, Paul M. Lincoln and mechanical engineer Albert Schmid, among others. More details on the contributions of these and other Westinghouse engineers can be found in Edward Dean Adams, Niagara Power: History of the Niagara Falls Power Company 1886-1918, (1918). The General Electric Company The General Electric Company was formed in 1891, with the consolidation of the Thomson-Houston Electric Company and the Edison General Electric Company of Schenectady. Thomas Alva Edison (1847-1931), inventor of the incandescent lightbulb, built the first electric utility system using direct current. While Elihu Thomson was one of the first engineers to research alternating current technology in the United States, Edison was not all that interested in AC. As with many of his contemporaries, Edison was a proponent of direct current, going so far as to say that alternating current was dangerous. Indeed, the first execution by electrocution utilized alternating current, thus supporting his ideas, at least in the mind of the public. The General Electric company Thomas Alva Edison supplied direct current dynamos to the Niagara Falls Hydroelectric Power and �Manufacturing Company as well as numerous industries around the falls. Machinery was also provided for the original installations of the Pittsburgh Reduction Company, the Carborundum Company and the Union Carbide Companyamong others. However, consolidation with Thomson-Houston as well as further development of AC technology in Europe led the General Electric Company to begin addressing the problems of AC technology. Competition with Westinghouse, which already had a 5 year jump on researching AC spurred the General Electric Company forward in this area. When plans were being drawn by the Cataract Construction Company for a centralized power station, the General Electric Company was a formidable technological competitor with Westinghouse. The General Electric Company's bid to supply generators for NFPC's Power House No. 1 was unsuccessful. However, they did provide approximately half of the generators for Power Houses 2 and 3 as well as the Canadian plant of the NFPC. The Buffalo General Electric Company The following entry from A History of the City of Buffalo, Its Men and Institutions (1908), best describes the Buffalo General Electric Company at the turn of the century: The history of The Buffalo General Electric Company is largely the history of the electrical development of Buffalo in the past twenty-five years. In 1882, James Adams, A. P. Wright, J. F. Moulton, and H. G. Knowlton formed an organization for the purpose of distributing electric light in the city. The earliest application was for lights generated through what was then known as a Brush arc dynamo. The first demonstration was across Buffalo Creek, on what is known as the Island. The business spread rapidly and another establishment was started near the freight house of the New York Central Railroad. Later a plant was built in Wilkeson Street and another in Prenatt Street, near Buffalo Creek. The franchise was granted by the Common Council to The Brush Electric Light Company and to The United States Electric Company, but the progress of the electric companies was exceedingly slow, and they met with all sorts of difficulties in establishing their business, ignorance and prejudice being always potential factors. The early efforts of the company were confined to what was then known as the First Ward and the outlying districts, for the reason that it was not an easy matter for the existing lighting organization to address themselves to the illumination of streets in other quarters. Much criticism was made by individuals and a hostile press because such streets as Abbott Road and Elk Street were lighted by electricity, alleging that it was farm land and not recognizing that the lighting was essential to these great highways for those who came into the city with their goods in the early hours of the morning. But the criticism was upon so flimsy a basis that it could not stand long in the light of use and appreciation. In 1886 an organization was formed known as The Thomson-Houston Electric Light Company, which, in the main, purposed to do electric lighting on the west side. The results of the business of both companies was not entirely satisfactory, and a combination of interests, by the purchase of stocks and bonds of the respective companies by a common holder, was entered into in 1892 under the name of The Buffalo General Electric Company. The active �elements of all the companies were associated in the new organization, with Mr. Daniel O'Day as president, Mr. George Urban, Junior, vice-president, and Mr. Charles R. Huntley general manager. From that time on there has been a steady increase in the use and appreciation of electricity. In 1897 the steam plants of the various companies were gradually dismantled and the power was taken from Niagara Falls through The Cataract Power and Conduit Company. Today Niagara Falls power is distributed through The Buffalo General Electric Company and is probably the most potent factor in Buffalo's industrial life. At the present time there are different distributing stations in different parts of the city—in Wilkeson Street, Court and Main streets, Ohio Street, Babcock Street, and Ferry Street. In Buffalo the use of electricity is becoming general, and the community is living up to its name—the Electric City. Particularly is the application of this force to all domestic requirements becoming popular; such as for house lights, heat for cooking and laundry purposes, for operating sewing machines, mechanical elevators, and so forth. The Buffalo General Electric Company has been the leading educator in this respect. The offices of this concern are located in the new Fidelity Building, and the present officers are: president and general manager, Charles R. Huntley; vice-presidents, George Urban, Junior, and Andrew Langdon; assistant manager, William R. Huntley; treasurer, D. T. Nash. 4 Charles R. Huntley (see above) was general manager and eventual president of the Buffalo General Electric Company (BGEC). In making the plant a site for demonstrating the advantages and possibilities of alternating current, Huntley set up the BGEC to become a model for the centralized distribution of electrical power. Certainly, his role as a vice-president of the Cataract Power and Conduit Company, which installed and operated the transmission lines leading from Niagara Falls to Buffalo, put the BGEC in a advantageous position as a power distributor. By 1901 the BGEC was offering four levels of electrical service to the city of Buffalo: Constant high-tension current arc lighting 60-cycle alternating current distant incandescent lighting 500-v direct current motor circuits 220-v three wire direct current incandescent lamps �Since it was the major distributor of electricity to Buffalo, it is not surprising that much of the electrical current used at the Pan-American Exposition was distributed via the BGEC. In fact, the General Electric Company's display in the Electricity Building was the place of the step-down transformation of the power used for illuminating the Exposition grounds and buildings.5 This working exhibit allowed Exposition visitors to see the transformers up close, and to observe engineers at work as the current entering the grounds was reduced to the voltage needed to operate trolleys and incandescent lamps. The BGEC's role cannot be understated since the illumination effects were not only one of the most memorable features of the Pan-American Exposition, but proof to the general public that the water­ power from Niagara could successfully be harnessed and that electricity could be utilized for more than just industry. References 1. Edward Dean Adams. Niagara Power: History of the Niagara Falls Power Company 1886-1918. Niagara Falls, N.Y.: Niagara Falls Power Company, 1927, p. 343.] 2. Ibid., p. 189. 3. Henry G. Prout. A Life of George Westinghouse. Published by the American Society of Mechanical Engineers, 1921. In Niagara Power, p. 193. 4. A History of the City of Buffalo. Its Men and Institutions. Buffalo, NY: The Buffalo Evening News, 1908. p.114. 5. The electricity that came from Niagara Falls was used primarily for illuminating the incandescent lamps used to decorate the Exposition buildings and grounds. A separate service building housed numerous natural gas-burning boilers and steam engines, which provided much of the electrical power used to drive machinery. A third source of power was the Machinery and Transportation Building, which exhibited steam and gas engines used to power the many fountains and water pumps. See "The Power Court of the Machinery Building" and "The Power Plants of the Pan-American Exposition" for more information. Additional Resources: • Thomas Edison visited the Pan-American Exposition and in an interview with Western Electrician, talked briefly about his impressions of illumination effects, the future use of his storage battery and the continued development of Niagara Falls as a power and industrial center. See "Edison at the Pan-American Exposition." �• An excellent timeline of the development of hydroelectric power at Niagara Falls can be found at Daniel M. Dumych's web site Waterpower at Niagara http://www.niagarafrontier.com/tunnelpix/DanielDumychWaterPower.pdf. • Additional information on George Westinghouse and the Westinghouse Electric and Manufacturing Company is available at The Westinghouse World: The Companies, the People and the Places on the American Memory site at http://memory.loc.gov/ammem/papr/west/westpres.html • Nikola Tesla's contributions to the development of Niagara Power are discussed on the PBS-produced Tesla: Master of Lighting at http://www.pbs.org/tesla/ �The Electrochemical Industry and Niagara Falls The theme image of the Pan-American Exposition was light--specifically, electrical light--referring to Buffalo's proximity to Niagara Falls, and consequent potential to exploit the almost limitless electrical energy of the Falls. But the development of electricity at Niagara Falls was about electricity for industrial power, not light. —Jack Foran, "Introduction: Niagara Falls and Electricity." When one considers the 1901 Pan-American Exposition, one of the first images brought to mind is that of the illuminated buildings and grounds. Because this striking display of electrical power was generated by the hydroelectric power plants of Niagara Falls, it is easy to directly relate the development of the Niagara power industry to the need for electrically generated light in cities like Buffalo. As Jack Foran emphasizes, this is a common misconception. It was, in fact, industry that powered the development of Niagara. In 1927, Edward Dean Adams wrote a comprehensive history of the Niagara Falls Power Company (NFPC), where he described the way Niagara power development both influenced and was influenced by the growth of industry. This was a surprising development to the planners of the central power station that would become the NFPC. They designed the facility based on the premise that the municipal and domestic users of electricity (electric railways, incandescent lighting, etc.) in the cities of Niagara Falls and Buffalo to be the parties with the greatest demand for Niagara power. On February 15, 1893 [two years before the power station began operation] … it was stated by the company that the inquiries and requests for power justified the belief that "a quick and urgent demand for this power, both hydraulic and electrical, will show itself at Niagara as well as at Buffalo, but undoubtedly it is from this great city now employing more that 50,000 horse-power that the more urgent demand will come for immediate use." 1 —Edward Dean Adams, 1927 �By December 1896, fifteen months after the NFPC began commercial operation, it became apparant that Buffalo was not the "field of quick and urgent demand" that planners had anticipated it to be. Instead, the largest consumers of electrical power were "local" and from "unexpected and novel sources." 2 "[A] glance at the diagram of circuits' showing the use of Niagara power in 1897, less than two years after the plant started, brings out a striking fact. Electric power was used for lighting, it was used for street railways locally and in Buffalo, it was used for motors in mills, the three uses of power which had been emphasized, but the center of the diagram shows five uses other than for lighting and power, of a kind to which scarcely any reference is found in the early prospectuses and plans of the company. These uses are for the making of carborundum, aluminum (Pittsburgh Reduction Company), alkalis and calcium carbide. They are electrochemical and allied processes and they were using, in the aggregate, many times the total power taken for lighting and motors." Diagram of Circuits. Source: From a paper "The Installation of the Niagara Falls Power Company," presented by Charles F. Scott at the Engineers' Club of Philadelphia, April 17, 1897. In Edward Dean Adams. Niagara Power: History of the Niagara Falls Power Company, 1927, v. 2, p.251. 3 As Foran mentions in his essay, one of the key technological innovations influencing the development of the Niagara power industry, was Tesla's invention of the alternating current motor. This motor, used in both industrial and domestic machinery, catalyzed the demand for alternating current, which justified the building of a power generation infrastructure based on the outward transmission of electricity from centralized production facility. But as Niagara Falls grew to be a center of hydroelectric power generation, the region saw the parallel development of a fledgeling industry that utilized electrical current for more than simply lighting factories and powering motors. The electrochemical industry required cheap electrical power. And it required a lot of it. Niagara Fostered the Development of the Electrochemical Industry Two basic processes are utilized in the electrochemistry: • Electrothermic process: Two or more elements are combined using a high-temperature electric furnace. • Electrolytic process: An electric current is used to break down an element into two or more new materials. For instance, caustic and chlorine results from the breakdown of salt. �Both of these processes require a constant, round-the-clock supply of power. Since power comprised relatively high percentage (nearly 20 to 40 percent) of the total cost of chemical production, electrochemical companies needed a source of power that was both constant and inexpensive. Niagara power had both of these characteristics, thus, the electrochemical industry prospered. In essence, the electrochemical and power industries in the Niagara Falls region each benefited from the other's prosperity. Development of Niagara's hydroelectric power provided an endless supply of cheap electricity, making electrochemical production cheap and profitable. This, in turn, creating a demand for more power. Niagara is the greatest single source of constant water-power in the United States. Here is power Niagara Falls. Photo credit: n/a. Source: Pan-American Exposition, Buffalo May 1 to November 1, 1901. Its purpose and its plan. With Illustrations. Buffalo, N. Y. : The Courier Company, 1901. p. [8]. stupendous in magnitude, easily developed, at a construction cost so relatively low that electric energy cost to customers is the very lowest. Niagara was a magnet to which was attracted the new born of the electrochemical family. 5 See Electrochemical Companies at Niagara for descriptions of some of the major chemical producers utilizing the Niagara's abundant and inexpensive hydroelectric power in 1901. �References 1. Edward Dean Adams. Niagara Power: History of the Niagara Falls Power Company 1886-1918. Niagara Falls, N.Y.: Niagara Falls Power Company, 1927, v.2, p. 257. 2. Ibid., v.2, pp. 258-9. 3. Ibid., v.2 pp. 258-9. 4. The "Diagram of Circuits" from a paper "The Installation of the Niagara Falls Power Company," presented by Charles F. Scott at the Engineers' Club of Philadelphia, April 17, 1897. In Adams, v.2, p.251. 5. Ibid., v.2, p. 308. �New Technologies at the Turn of the Century The Harrisburg Engine. Photo credit: n/a. Source: Power, v. 21, no. 8 (August 1901) p. 3. The Harrisburg Engine was one of many gas and steam engines in the Power Plant in the Court of the Machinery Building. These working engines were not only exhibited to educate visitors, but also to provide supplemental power to run the fountain water pumps and other daily operations of the Exposition. One of the main functions of the world's fairs was to provide a forum for introducing and exhibiting new inventions and technological developments. The Pan-American Exposition was in its very essence, a working exhibit of the modern marvels of 1901. The use of steam and electrically powered machinery for exhibits and basic operations, not to mention the awe-inspiring illumination effects for which the Exposition is famous, were clear indications that industry and business, and even the government, were at the forefront in technological development. The Exposition hosted companies like General Electric, Westinghouse and some of the prominent engine manufacturers of the day-Lane & Bodley, Skinner, Nash and Bessemer. In fact, many of the larger companies provided "working exhibits"-displays of machinery that not only educated visitors, but actually functioned in the day-to-day operation of the Exposition. �In her article "How To See the Pan-American Exposition," Mary Bronson Hartt describes, from the visitor's point of view, the "modern marvels" on exhibit in numerous buildings throughout the Exposition grounds: In the main Government Building it is hard to say what you do not want to see. Perhaps the most popular section is that in the southeast corner of the building, under the label "Patent Office." There you see in operation the electrograph, the machine which transmits pictures by wire; the telautograph, which enables you to write your signature ever so many miles away; the voting-machine, the entertaining mutoscopes, the mechanical mowing­ machine, where the mown grass grows again while you wait, and scores of other ingenious novelties. In a dark room in this same part of the building the government schools make a novel exhibit of their work by means of the biograph and phonograph, the performance taking place at intervals from half past ten in the morning till five at night. Twice every day, at eleven and at two, there is a demonstration of wireless telegraphy in the War Department, under the government dome. The Electrograph. Photo credit: n/a. Source: Everybody's Magazine, v.5, no.26 (October 1901) p. 397. The Electrograph was an machine for "telegraphing pictures" and the exhibit demonstrated how a portrait could be sent by wire. Below is the telegraphing machine and an example of a picture sent from Chicago to New York. �Nernst Lamps. Photo credit: n/a. Source: Everybody's Magazine, v. 5, no. 26 (October 1901) p. 392. Nernst Lamps were displayed overhead in the Westinghouse Section of the Electricity Building. The lighting filament was made of lime-like minerals that, when heated by electric current, gave off a "the most dazzling white light." The fifty-candle Nernst lamp was three times brighter than the normal incandescent lamp of the period, and consumed half the energy. The "Dow" Typesetting Machine. Photo credit: n/a. Source: Donald Murray. "The Automatic Age," Everybody's Magazine, v. 5, no. 26 (October 1901) p. 401. �Niagara dominates the Electricity Building. At the east end of the building is a table covered with telephonic transmitters, and you have but to hold two of them to your ears to hear the thunderous roar of the Falls. The roar was captured by a transmitter in the Cave of the Winds, and is used as a sort of "bally-hoo" by one of the great telephone companies. Nearly half of the north wall of the building is occupied by the big transformer plant, where the power from the Falls, arriving at the high and dangerous potential of 11,000 volts, is stepped down to that of 1,800 volts for use about the grounds. This is an electric exposition; the electrical exhibits cannot be contained in a single building; they are everywhere. Niagara power drives the trolley which carries you to the grounds; turns the wheels of the countless machines in Machinery Hall; whirls the electric fans which cool the theatres in the Midway; illuminates the cycloramas and other electrical effects and illusions; makes possible the powerful search-light on the Electric Tower which sends signals to Toronto ; glows in the blended colors of the Electric Fountain, and blossoms in a whole firmament of electric stars which make up the glory of the Pan-American illumination. All this makes of supreme interest a modest little working-model of the Niagara Power House, near the western end of the Electricity Building. A portion of the outer wall is removed to allow you to see the wheel-pit and penstocks, and the turbines spinning in the rush of water, revolving the humming dynamos in the power-house above. Model of the Niagara Power House.Photo credit: n/a. Source: Everybody's Magazine, v. 5, no. 26 (October 1901) p. 388. The model's cutaway shows the shafts of six of the 5,000 horsepower turbines. For information on a second model of the Niagara Falls Power Company, see Models of Niagara Power Houses” Much of the apparatus in the Electricity Building is beyond the ken of the layman; but the improved phonographs which send their strong, full voices ringing through the building, appeal to the interest of the least technically inclined. In a green burlaps-covered cabinet near the centre of the building is shown a novel apparatus called the akouphone, an electrical appliance enabling the deaf to hear by increasing the force of sound-waves. The Delany telegraph system, the model telephone station, and the X-rays demonstration attract attention by day, while at night the beautiful display of hanging Nernst lamps in the draped roof make the building charming beyond its sister structures. Jacquard Loom. Photo credit: n/a. Source: Everybody's Magazine, v. 5, no. 26 (October 1901). This automated loom could weave sixteen silk souvenir picture ribbons at once. �Envelope-Making Machine. Photo credit: n/a. Source: Everybody's Magazine, v. 5, no. 26 (October 1901) p. 401. The image shows the "modern" automated envelope-making machine (right) next to its 1860 counterpart. The Monotype. Photo credit: n/a. Source: Everybody's Magazine, v. 5, no. 26 (October 1901) p. 401. The Monotype was described by Murray as "an automatic miracle of mechanism that sets up and casts type according to instruction given by a perforated strip of paper.” Beyond the Propylæa, in the Railway Exhibit Building, are dozens of magnificent big locomotives, and new model trolley cars and devices for automatic coupling and the like. A big steam shovel, in operation out of doors just beyond the Railway Building, is a sight worth an effort to see. The biggest engines in Machinery Hall are in the depressed Central Court. Among the more interesting exhibits on the ground floor are the ice-machines, the paper-box making, the great drills and lathes, and the like. But, then, to those who love machinery it is all fascinating. Source: Mary Bronson Hartt. "How to See the Pan-American Exposition," Everybody's Magazine, v.5, no.26 (October 1901) Note: The images used above were inserted by the web site editor and were not printed with Hartt's original article. Click on the individual images to see the source citations. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Electricity and Technology at the Pan American Exposition of 1901 Description An account of the resource Technological advancements of the Pan-American Exposition of 1901. Creator An entity primarily responsible for making the resource State University of New York at Buffalo. University Libraries Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context pan-am-electricity-and-technology Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Exhibitions--New York (State)--Buffalo Pan-American Exposition (1901 : Buffalo, N.Y.) Electric power Hydroelectric power plants Water-power--Niagara Falls (N.Y. and Ont.) Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. The organization that has made the Item available believes that the Item is in the Public Domain under the laws of the United States, but a determination was not made as to its copyright status under the copyright laws of other countries. The Item may not be in the Public Domain under the laws of other countries. Please refer to the organization that has made the Item available for more information. https://digital.lib.buffalo.edu/files/original/328ae80b3794d11884b6e824a3b56e0b.pdf 051b9552e680feb59b34c1f875c4a368 PDF Text Text The Legal Aftermath of the Assassination of William McKinley On September 5, 1901, Leon Czolgosz unsuccessfully sought an opportunity to assassinate President McKinley at the Pan-American Exposition in Buffalo. His second attempt on September 6 was successful. At the Temple of Music, while McKinley was in a greeting line, Leon Czolgosz fired two shots into the President. Czolgosz was wrestled to the ground by an Exposition attendee, AfricanAmerican waiter James Parker, who was credited with having prevented Czolgosz from firing a third round. [See a related essay on James Parker by Daryl Rasuli.] Soldiers of the U.S. Artillery descended upon Czolgosz and Portrait of William McKinley. Photographer: Francis B. Johnston. Source: The Life of William McKinley, Including a Genealogical Record of the McKinley Family and Copious Extracts From the Late President's Public Speeches, Messages to Congress, Proclamations, and Other State Papers. New York, P. F. Collier & Sons, 1901. began to beat him. From where he lay wounded, President McKinley was heard to have said, "Go easy on him boys." At police headquarters the assassin was interrogated by District Attorney Thomas Penney. Czolgosz confessed that he killed the President because, "I killed President McKinley because I done my duty. I didn't believe one man should have so much service and another man should have none." �"The Confession of Leon Czolgosz". Source: Photocopy kindly reproduced by the Karapela's Manuscript Museum. Surgery was performed on President McKinley by Dr. Matthew Mann. The operation began at 5:20 P. M., one hour and 20 minutes after the President was shot. The highly regarded surgeon, Roswell Park, was unavailable, so Mann, an obstetrician and gynecologist, performed the operation. In addition to Mann, the attending physicians were P.M. Rixey, Eugene Wasdin, (later) Roswell Park, and Herman Mynter. Matthew D. Mann, M.D. Physician and Surgeon; Professor of Obstetrics and Gynecology, University of Buffalo. Photographer: Undetermined. Source: Men of Buffalo: A Collection of Portraits of Men Who Deserve to Rank as Typical Representatives of the Best Citizenship, Foremost Activities and Highest Aspirations of the City of Buffalo. Chicago: A.N. Marquis & Co., 1902, p. 377. Dr. Roswell Park Herman Mynter, M.D. Professor of Operative Surgery, University of Buffalo; Surgeon to German and German Deaconess Hospitals. Photographer: Undetermined. Source: Men of Buffalo: A Collection of Portraits of Men Who Deserve to Rank as Typical Representatives of the Best Citizenship, Foremost Activities and Highest Aspirations of the City of Buffalo. Chicago:A.N. Marquis & Co., 1902, p. 390. �On September 14, 1901 President McKinley died of gangrene at the home of John G. Milburn, president of the Pan­ American Exposition. After the final funeral service in Washington, D.C. on September 17th, McKinley's body was returned to his home of Canton, Ohio and entombed at the Westlawn Cemetery. By the time the body had been laid to rest, the Erie County Bar Association had assigned two honorable defense attorneys to what they termed the "distasteful task" of providing counsel to the assassin. Members of the local bar who were involved with the trial were presiding Judge Truman C. White, District Attorney Thomas Penney, as well Department Of Police, Buffalo, N. Y. Bureau Of Identification. Alias Fred Nieman Name Leon Frank Czolgosz No: 757Sex: Male- Color: White Crime: Murder 1st degree Place Arrested: Buffalo, N. Y. Date if Arrest: Sept. 6, 1901 Precinct: HD Arrested by: Solomon, Geary, Foster Age: 28 Height: 5, 7-5/8- Complexion: Med Eyes: DK. Blue- Weight: Med Hair: Red. BR- Build: Med Place of Birth: Detroit Mich. Nationality: American Occupation: Wireworker Citizen: Yes Scars and Marks 1. cut SC 2x (1/2) at 2, pt of elb. 2. out SC 2e on cent. back of eo hand. 3. IRR cut SC 3c, 2d. phal mid FGR, rear. 4. cut SC 7c ver LT cheek 3 from ear. While Wm. McKinley the President of the United, States was holding a public reception in the Temple or Music at the Pan-Amer. Exposition, he was shot in the abdomen with a .38 CAL, Revolver. Police Photograph and Report of Leon Czolgosz. Photographer: Unidentified. Source: Facsimile of the Police Report filed September 6, 1901. Department of Police, Buffalo N.Y., Bureau of Identification. Facsimile courtesy of the Buffalo and Erie County Historical Society. �as defense attorneys Hon. Loran Lewis and the Hon. Robert Titus. The jurors reached a verdict in little more than 30 minutes. On September 26, 1901 at 2:00 p.m. Judge White sentenced Leon Czolgosz to death by electric chair at Auburn State Prison. He was executed October 29, 1901. The assassination of President McKinley by an avowed anarchist, only compounded Americans' fears, already stirred by such recent events as the assassinations of King Humberto of Italy and Empress Elizabeth of Austria and the Haymarket and Homestead riots in the United States. The focus of this fear was the anarchist movement, and the relationship of this ideology to immigrants. State and federal legislation began to target anarchists, with bills being introduced almost immediately to expel avowed anarchists from the country and to prohibit their entry into the United States from other countries. One such statute, the Alien Immigration Act of 1903, is discussed in Anarchy at the Turn of the Century. See the following pages: • Anarchy at the Turn of the Century • Images of William McKinley at the Pan-American Exposition • Leon Czolgosz and the Trial �Anarchy at the Turn of the Century Leon Czolgosz, the assassin of President William McKinley, professed to being an anarchist. Inspired by Emma Goldman, he stated in his confession, "I killed President McKinley because I done my duty. I didn't believe one man should have so much service, and another man should have none." With the role of anarchists and the violence of the Haymarket Square Riot on the minds of many Americans, the death of McKinley at the hands of the anarchist son of immigrants was significant. While the idea that it enhanced the link between immigrant laborers and anarchists in the minds of civic leaders may be speculation, Czolgosz's deed and the attitude towards anarchism was most certainly an integral part of the passing of the Alien Immigration Act in 1903. • Emma Goldman • The Haymarket Square Riot • Anti-Anarchist/Anti-Immigrant Political Commentary • Legislation and the Courts Target Anarchists • Buffalo - a Labor Town Where Anarchists Failed Emma Goldman Born on June 27, 1869, in Kovno (now Kaunas), Lithuania, Emma Goldman grew up there, in Königsberg, East Prussia (now Kaliningrad, Russia) and in St. Petersburg. Her formal education was limited, but she read widely and in St. Petersburg, associated with a radical student circle. In 1885 she emigrated to the United States and settled in Rochester, New York. There, and later in New Haven, Connecticut, she worked in clothing factories and came into contact with socialist and anarchist groups among her fellow workers. Leon Czolgosz claimed to have been "an Anarchist--a disciple of Emma Goldman."1 He had been inspired by her, having seen her speak in Cleveland before the Franklin Liberal Club on May 6, 1901. Here she "laid down the principles by which she expected universal Anarchy to prevail... "2 While she no longer condoned violence, preferring education as the vehicle of social change, she did speak highly of the violent measures Emma Goldman Photographer: T. Kajiwara. Source: Emma Goldman. Anarchism and Other Essays. New York, Mother Earth Publ. Association, 1910. Frontispiece. �enacted by anarchists, calling their motives high and noble and praising them because they "could not stand aside while workers suffered."3 There is no evidence to show that Goldman was ever directly involved in Czolgosz's scheme. In fact he was scorned as too revolutionary by the anarchists with which Goldman associated, including Emil Schilling of Cleveland's Liberty Club and Abraham Isaak, editor of Free Society. Despite this, Goldman sympathized with the President's assassin. In "The Tragedy at Buffalo, " she wrote: I did not know the man [Czolgosz]; no one as far as I am aware seems to have known him, but from his attitude and behavior so far (I hope that no reader of "Free Society" has believed the newspaper lies), I feel that he was a soul in pain, a soul that could find no abode in this cruel world of ours, ... ... As I write this, my thoughts wander to the death-cell at Auburn, to the young man with the girlish face, about to be put to death by the coarse, brutal hands of the law, walking up and down the narrow cell, with cold, cruel eyes following him, "Who watch him when he tries to weep And when he tries to pray; Who watch him lest himself should rob The prison of its prey." And my heart goes out to him in deep sympathy, and to all the victims of a system of inequality, and the many who will die the forerunners of a better, nobler, grander life.4 Haymarket Square Early in 1886 labor unions in Chicago were beginning the fight for an eight-hour day. Serious trouble was anticipated and on May 1st many workers struck for shorter hours. An active group of radicals and anarchists became involved in the campaign. Two days later, one death occurred during a riot at the McCormick Harvester plant when police tangled with the strikers. The Haymarket Square Riot, depicted by a contemporary illustrator.Illustrator: unidentified. Source: George N. McLean. The Rise and Fall of Anarchy in America. Chicago: R.G. Badoux & Co., 1890, p. [89]. �On May 4, events reached a tragic climax at Haymarket Square, where a protest meeting had been called to denounce the events of the preceding day. At this meeting, while police were attempting to disperse the crowd, a bomb exploded. Policeman Mathias J. Degan was killed almost instantly and seven other officers died later. While the bomber was never identified, eight men were finally brought to trial. Judge Joseph E. Gary imposed the death sentence on seven of them and sentenced the eighth to fifteen years in prison. Four were hanged, one committed suicide and the sentences of the remaining two were commuted from death to imprisonment for life. On June 26, 1893, Governor John P. Altgeld granted pardons to those three in the penitentiary.4 The Haymarket Riots did have direct bearing on reaction to McKinley's Assassination some fifteen years later. The Buffalo Express pointed out to its readers that the person who threw the bomb in 1886 was never caught. The four men hanged were in fact charged as accomplices, giving the state precedence to charge any accomplices that Czolgosz may have had. Emma Goldman and eleven of her anarchist friends were accused of complicity in what was then the attempt on the President's life (McKinley had not yet died.) None of the Anarchists, including Goldman, was ever charged. 5 �Anti-Anarchist/Anti-Immigrant Political Commentary Political cartoonists and social commentators, directly related anarchy and immigration in their columns and cartoons. Political Cartoons reflect the "Evils of Anarchy". Source: Public Opinion, v. 13, no. 12 (September 19, 1901) Political Cartoons reflect "Anarchy and Immigrants". Source: Public Opinion, v. 13, no. 12 (September 19, 1901) In response to the September 6, 1901 shooting of the president and his subsequent death eight days later, publications printed much commentary denouncing the actions of anarchists. One such publication, the weekly Public Opinion, reprinted the opinions and statements made in many of the nation's newspapers and journals. Below are excerpts from Public Opinion's September 12th and September 19th issues. �… Czolgosz says that his deed was prompted by the teachings of anarchy; he asserts that he has only done his duty as he understands it. He is a Pole, but was born in this country, speaks English well, and is, presumably, familiar with the system of government under which he lived. If so, he knew that his deed was not only brutal and criminal, but senseless as well.... p.323 Excerpts from Public Opinion, September 12th, 1901 "Whether President McKinley lives or dies, the American people should learn certain lessons at his bedside," says the Boston Transcript: "That anarchy is hating as it is hateful; that it will strike as readily at the freely chosen executive of a republic as at a king ruling by 'divine right'; that anarchism must be suppressed here ... ... "This is a land of freedom, but it is not an asylum for assassins. Those who are banded together for the commission of murder are outlaws, and the most sacred human right-that of self-protection-demands that they be suppressed. Their presence in this country is a cancerous growth upon our republican form of government, and the most drastic measures used to remove them will not be too severe," says the Baltimore Herald.... p.324 Excerpts from Public Opinion, September 19th, 1901 ... Naturally the avoidance of a repetition of crimes of the kind which have deprived the nation of three of its presidents is the subject of most earnest consideration, but no practicable suggestions have yet been made. It is to be presumed that the assailant expects to accomplish the death of his victim; what then is to be gained by making an attempt upon the president's life punishable by death without regard to the actual outcome of the attempt? Probably nothing can be done to preclude the possibility of such attacks upon the heads of nations, but the preaching if not the mad practise of anarchy can be stopped, and it doubtless will be until we again grow careless of the safety of our highest state officials. ... p.355 [From the Chicago Journal] ... Who is it that makes the Goldmans and the Mosts, the Spieses and the Parsonses whose writings and speeches thus incite men to assassination? From whom do these teachers get their best encouragement in this country? Whose teaching is it that anarchists think they only carry to its logical conclusion when they advise and commit murder? Deliberately and without hesitation we say the "yellow journals" and the men behind them.... p. 361. [From the New York World] ... The response of the governors of many states to the inquiry of the World shows that the one point of emphatic agreement is that a change alike in our law and practise regarding avowed anarchists is necessary.... Now that public opinion has been sharply called to the deterrent inadequacy of the punishment provided for a man who unsuccessfully tries to kill the nation's chief magistrate, some such federal law will no doubt be enacted.... p.359 �Legislation and the Courts Target Anarchists Legislators and the Courts were not at all tolerant of anarchists and their teachings, in part because of the Haymarket Square riots and the seemingly endless growth in influence and power of the labor unions. The assassination of President McKinley by a professed anarchist who was also the son of immigrants contributed to the anti-anarchist fervor in Congress and the courts. The supposed ties between anarchists and immigrants was addressed most effectively with the passing of the Alien Immigration Act in 1903 ( 32 Stat 1213, ch.1012). ... SEC. 2.That the following classes of aliens shall be excluded from admission into the United States: All idiots, insane persons, epileptics, and persons who have been insane within five years previous; persons who have had two or more attacks of insanity at any time previously; paupers; persons likely to become a public charge; professional beggars; persons afflicted with a loathsome or with a dangerous contagious disease- persons who have been convicted of a felony or other crime or misdemeanor involving moral turpitude; polygamists,anarchists, or persons who believe in or advocate the overthrow by force or violence of the Government of the United States or of all government or of all forms of law, or the assassination of public officials; prostitutes, and persons who procure or attempt to bring in prostitutes or women for the purpose of prostitution; … . In addition to excluding anarchist immigrants from entry, the Act also allowed for the deportation of those immigrants already in the United States who were found to be anarchists. John Turner, a British national, was the first to be deported under the Alien Immigration Act. He appealed the decision to the Supreme Court in 1904. The Fuller court upheld the earlier decision. United States ex rel, John Turner v. Williams. Appeal From The Circuit Court Of The United States For The Southern District OF New York. No. 561. Argued April 0, 7, 1904.—Decided May 16, 1904. Congress has power to exclude aliens from, and to prescribe the conditions on which they may enter, the United Stales; to establish regulations for deporting aliens who have illegally entered, and to commit the enforce ments of such conditions and regulations to executive officers. Deport ing, pursuant to law, an alien who has illegally entered the United States, does not deprive him of his liberty without due process of law. The Alien Immigration Act of March, 1903, 32 Stat. 1213, docs not violate the Federal Constitution, nor are its provisions as to the exclusion of aliens who are anarchists, unconstitutional. �The People v. Most Shortly after the shooting of President McKinley, John Most was charged with a misdemeanor for "Publication of an anarchical article" ... "an act endangering the peace and outraging public decency, within Penal Code, § 675." Most was the publisher of the German language newspaper die Freiheit, and had reprinted an article which advocated the use of murder as a proper remedy to be applied against rulers or "enemies of the people." The article, "Murder vs. Murder," was originally written by Carl Heinzen fifty years prior, but reprinted by Most in the September 7, 1901issue of Die Freiheit. The charges against Most were summed up as follows: The publication and distribution, through the mail and to a local news company, of a German newspaper, circulated in the city and county of New York, reproducing an article, headed in display type "Murder vs. Murder", originally written by another person fifty years ago against crowned heads, teaching the doctrine of anarchy and declaring that all rulers are enemies of mankind who should be hunted and destroyed through blood and iron, poison and dynamite, make the publisher of the newspaper guilty of a misdemeanor within Penal Code, § 675, providing that "A person who willfully and wrongfully commits anyact * * * which seriously endangers the public peace * * * or which openly outrages public decency, for which no other punishment is expressly prescribed by this code, is guilty of a misdemeanor" -- and this although it be not shown that the publication of the article was followed by any overt act of physical injury to anyone. It is unclear whether or not the timing of this article was intentional. Most's counsel maintained that "as soon as he learned of the assault upon our late President, made all possible efforts to withdraw the newspaper containing the article in question from circulation. That, with the exception of those which had been sent through the mail and delivered to the International News Company, no more copies had been sold, so far as known to the defendant." The assault on McKinley was, however, referred to in the opinion by Judge Hultquist: ... It is the power of words that is the potent force to commit crimes and offenses in certain cases. No more striking illustration of the criminal power of words could be given, if we are to believe the murderer of our late President, than that event presents. The assassin declares that he was instigated and stimulated to consummate his foul deed by the teachings of Emma Goldman. He is now awaiting execution for the crime, while she is still at large in fancied security.... It is impossible to read the whole article without deducing from it the doctrine that all rulers are enemies of mankind, and are to be hunted and destroyed through "blood and iron, poison and dynamite." It is no answer to the evil and criminal nature of this article to claim that it was written for the purpose of destroying crowned heads. It inculcates and enforces the idea that murder is the proper remedy to be applied against rulers. The fact that it was published fifty years ago and again republished about fifteen years ago only emphasizes and gives added point to the criminality of republishing it at any time. It shows a deliberate intent to inculcate and promulgate the doctrine of the article. This we hold to be a criminal act. It is not necessary to trace any connection in this article with the assassination of the late President. The offense here, in the eye of the law, is precisely the same as if �that event had never occurred. The murder of the President only serves to illustrate and illuminate the enormity of the crime of the defendant in teaching his diabolical doctrines... John Most was found guilty, and sentenced to be imprisoned for 1 year in the penitentiary. He lost his appeal before the Supreme Court of New York in 1902. Buffalo : A Labor Town where Anarchists Failed During the late nineteenth century strikes by labor unions and social unrest among exploited immigrant workers were common. As a growing center of industry with a large immigrant population, Buffalo was not immune to labor strikes. In fact, there numerous work stoppages by those union workers involved in constructing the Exposition. One of the more famous strikes in Buffalo history, the Grain Scoopers' Strike of 1899 occurred less than two years prior, when city leaders were planning to showcase Buffalo to the world at the Pan-American. The 1899 strike was significant in that it illustrated, in part, why labor unions made up of primarily immigrant workers, the targets of socialist and anarchist ideologists, were not influenced by this group as in other U. S. cities. A key figure in the resolution of the Scooper's strike was Bishop of the Buffalo Diocese, Fr. James Quigley, who refused to allow socialism or the anarchist movement to displace the influence of the Catholic Church. Quigley sided with the mostly Irish scoopers in their dispute with saloon bosses but wanted the teachings of the church to form the basis of the workers' ideology. Consider the influence of the Catholic church in the lives of Buffalo's labor force. Most were Poles and some Germans from the East Side, Italians from the West Side and Black Rock and the Irish of the First Ward (and later, the West Side.) In general, the Catholic Church was the center of social, spiritual and cultural life in these ethnic communities. If Buffalo's bishop condemned socialism and anarchy, certainly the laborers would be listening. Quigley's opposition was vehement and amplified by the assassination of McKinley. He worked intensely to keep socialist and anarchist ideologies out of the church and out of the unions. Fr. Quigley's work was obviously noticed and in 1903 he was appointed the Archbisop of Chicago. References 1. Leon Czolgosz; quoted in A. Wesley Johns, The Man Who Shot McKinley. South Brunswick and New York : A. S. Barnes and Co., 1970, p. 123. 2. Ibid., p. 35. 3. Ibid. �4. Emma Goldman, "The Tragedy at Buffalo" Free Society, October, 1901. From the microform collection of the Emma Goldman Papersheld by the University of California. See also Emma Goldman Papers. University of California. Online. URL: http://sunsite.berkeley.edu/Goldman/ 5. Johns, p. 146. "Emma Goldman." Anarchy Archives: An Online Research Center on the History and Theory of Anarchism. Online. URL: http://dwardmac.pitzer.edu/Anarchist_Archives/goldman/Goldmanarchive.html �Images of President William McKinley at the Pan-American Exposition Good-bye-good bye, all. It's God's way. His will, not ours, be done. Nearer my God to Thee, nearer to Thee. —[McKinley's reported last words] President William McKinley attended the Pan-American Exposition on September 5, 1901, the day set aside in his honor as President's Day. The schedule of his events published in the daily program for the day shows that he was scheduled to be at the Exposition from 10:00 A. M. until after 8:00 P. M. The following photographs illustrate a few of the events on President McKinley's schedule for September 5th & 6th, as well as the public mourning upon his death September 14th, 1901. President McKinley riding on the Great Gorge Railway at Niagara Falls, Sept. 5, 1901. Photographer: G.D. Brinckerhoff. Source: Western Electrician, v.29, no.2 (September 21, 1901) p.182. �The following are images of President McKinley's President's Day Speech on the grounds of the Pan-American Exposition, Sept. 5, 1901. President's Day had originally been scheduled for June 13, 1901, during McKinley's extensive tour of the country in response to his re-election. However, Mrs. McKinley fell gravely ill during the tour and President's Day was rescheduled.1 President McKinley's Speech at the Pan-American Exposition. September 5, 1901. Photographer: Frances Johnston. Source: Photograph from the Johnston Collection in the Prints and Photographs. Division of the Library of Congress. Also in Pete Daniel and Raymond Smock. A Talent For Detail : The Photographs of Miss Frances Benjamin Johnston, 1889-1910. New York : Harmony Books, [1974], p. 73. President McKinley's Speech at the Pan­ American Exposition. September 5, 1901. Photographer: Frances Johnston. Source: American Monthly Review of Reviews, vol.24, no.4 (October 1901) p. 389 �The Pan American Exposition Grounds were jammed with a throng of 116,600 on September 5th, 1901. when President McKinley spoke on the Esplanade. In this photo the late Fred M. McLennan, who became managing editor of The Courier-Express, is seated just below McKinley, facing out. Continued on page 12 President McKinley's Speech at the Pan-American Exposition. September 5, 1901. Photographer: C.D. Arnold. Source: Held in the Presidential Files of the Prints and Photographs Division of the Library of Congress. The image below appeared Buffalo Express, September 8, 1901. Courtesy of Stephanie Long. "[McKinley] was always so sweet and kind and gentle," Frances [Johnston] remembered, "and so anxious to pose just the way you wanted him to, but always a little self-conscious before the camera, and so never at his best. But I finally caught him at the climax of a great speech, when he had wholly forgotten himself, and it proved his best portrait, and sadly enough, his last." This picture, which became known as the "Buffalo pose," was the model used to construct the statue of the President at the McKinley Monument in Canton, Ohio.2 �Shaking Hands with the President, September 5, 1901. Photograph taken in the corridor of the Government Building. Photographer: Louis B. Hart. Source: The Buffalo Express, September 15, 1901. Reproduced in The Illustrated Buffalo Express. Buffalo, N.Y. : J. N. Matthews Company, 1901. Early films of McKinley's final days were produced by the Edison company. They include "President McKinley's speech at the Pan-American Exposition" / "President McKinley reviewing the troops at the Pan-American Exposition" / "The mob outside the Temple of Music at the Pan-American Exposition" / "President McKinley's funeral cortege at Buffalo, N.Y.," etc. These films and more information about McKinley's final days are are available on the American Memory web site The Last Days of a President: Films of McKinley and the Pan-American Exposition, 1901 McKinley Reviewing Troops in the Exposition Stadium. September 5, 1901. Photographer: Undetermined. Source: American Monthly Review of Reviews, vol.24, no.4 (October 1901) p. 415. �The "Last Posed Photograph" of President McKinley.In the Government Building on September 5, 1901. Photographer: Frances Johnston. Source: From the Johnston Collection in the Prints and Photographs Division of the Library of Congress [LOT 11735]. The "last posed photograph" of President McKinley, in the Government Building on 5 September 1901. Left to right: Mrs. John Miller Horton, Chairwoman of the Entertainment Committee of the Woman's Board of Managers; John G. Milburn; Senor Asperoz, the Mexican Ambassador; the President; George B. Courtelyou, the President's secretary; Col. John H. Bingham of the Government Board. William McKinley did not care for the use of bodyguards and secret service agents, but relented to the wishes of the Chief of the Secret Service, John E. Wilkie, and the influential Republican "Boss," Senator Mark Hanna. Although the Secret Service had no official empowerment to protect the President, Wilkie exceeded his authority and assigned operative George E. Foster as McKinley's personal bodyguard.3 �The President and Mrs. McKinley. Photographer: B. Dinst. Source: Photograph from the collection of the Prints and Photographs Division of the Library of Congress. In Margaret Leech, In the Days of McKinley, New York : Harper & Row, 1959. President and Mrs. McKinley touring the Exposition in carriage, probably after 7 p.m. on way to see the illumination of the Electric Tower and evening fireworks. September 5, 1901. Photographer: Frances Johnston. Source: The Johnston Collection in the Prints and Photographs Division of the Library of Congress. Appeared in the September 8, 1901 Buffalo Express. Those close to McKinley had reason to be concerned for his safety. A. Wesley Johns asserts that while fears for the president's life began at the time of the Spanish-American conflict, other factors contributed to this hightened concern:4 • Anarchism. The growth of Anarchism and the recognition that this school of thought could be dangerous. While the Haymarket Square Riots were fresh on minds of many political leaders, the recent assassinations and threats on the lives of European leaders were especially disturbing. Empress Elizabeth of Austria was assassinated in 1898; Edward VII, then Prince of Wales, was fired upon in April 1900 and King Humbert of Italy was assassinated in July of 1900. • Social class divisions. While the country was experiencing relative prosperity, there was a widening gap between the rich and the poor. The conspicuous consumption of wealthy industrialists constrasted greatly with the struggles of sweatshop workers and tenement dwellers. This provided fertile ground for labor disputes and the spreading of Anarchist ideologies. �• Yellow journalism. As Johns points out, McKinley was "flayed relentlessly" by William Randolph Hearst, whose publications described him as a "puppet" of wealthy industrialists. An editorial printed in the April 10, 1901 Journal asserted that "If bad institutions and bad men can be got rid of only by killing, then the killing must be done." Of course, journalists of the period would refute this. The editor of The Nation (published by the New York Evening Post Company) wrote in the September 19, 1901 issue that "[t]he theory, which has been seriously advanced, that Czolgosz was led to assassinate President McKinley by reading a certain daily newspaper, is without a particle of evidence, and is an affront to common sense." The president's secretary, George B. Courtelyou, (seen here to the right of MicKinley) was uneasy about the president's prolonged appearance at the Pan-American Exposition. Of specific concern was the reception to be held in the Temple of Music, September 6, 1901, the day after McKinley's speech. Courtelyou thought this unnecessary and twice attempted to cancel the engagement, only to have it reinstated by the President. 5 General William Bull was the Superintendent of Police in Buffalo. During his visit to the Pan-American Exposition, four detectives were assigned to the President, with Foster and two other secret service men, Al Gallagher and Sam Ireland. In addition, seventy-five policemen were added to the Buffalo force, augmented by Pan-American Guards, Coast Artillerymen, Pinkerton men and Railroad detectives.6 While McKinley's men feared for his safety, there did not appear to be any public concern. In the September 6, 1901 morning edition of the Buffalo Courier, there appeared an anonymous, "slightly burlesqued" account of the President's appearance and speech the day before.7 [See an image of the actual article.] Despite the light-hearted burlesque above, a strangely "prophetic" observation appeared on the same page: The surrounding of President McKinley by a body-guard of detectives when he appears in public, is probably as distasteful to himself as it is to abstract American sentiment, but as long as the earth is infested by malevolent cranks and unreasoning Anarchists, the precaution is entirely proper. One can only wonder what the author(s) of these passages may have thought as the events of September 6, 1901 unfolded… �McKinley and his entourage visit Goat Island, at Niagara Falls. September 6, 1901. Photographer: Orrin Dunlap. Source: From the Presidential Files collection of the Prints and Photographs Division of the Library of Congress ©1901 Orin Dunlap. (H9017 U.S. Copyright Office.) Also appeared in the Buffalo Courier, September 15, 1901. Also appeared in The American Monthly Review of Reviews, vol.24, no.4 (October 1901) p. 417. President McKinley in Carriage on Way to the Reception at the Temple of Music. September 6, 1901. Photographer: Frances Johnston. Source: From the Johnston Collection in the Prints and Photographs Division of the Library of Congress. Also appears in Pete Daniel and Raymond Smock. A Talent For Detail : The Photographs of Miss Frances Benjamin Johnston, 1889-1910. New York : Harmony Books, [1974], p. 72. �President McKinley Greeting Well­ Wishers at a Reception in the Temple of Music. September 6, 1901 (minutes before he was shot). Photographer: Undetermined. Source: The Prints and Photographs Division of the Library of Congress The Shooting of President McKinley on the Stage of the Temple of Music. September 6, 1901. Illustration by: T. Dart Walker. Source: The cover of the September 21, 1901 issue of Leslie's Weekly. �The wounded president was taken by the electric ambulance to the Exposition's Emergency Hospital, located on the west side of the grounds near the Elmwood Avenue gate. Hospital staff included University of Buffalo medical school sophomores Burton T. Simpson and Burt J. Bixby and third year student T. Frederick Ellis. In addition to a more seasoned group of doctors, the resident physician was senior medical student Edward D. Mann, son of The Exposition's Emergency Hospital, where President McKinley was Taken for Treatment. Photographer: C. D. Arnold. Source: Originally appeared in the Buffalo Express, September 8, 1901. Reproduced in The Illustrated Buffalo Express. Buffalo, N.Y. : J. N. Matthews Company, 1901. Dr. Matthew D. Mann, the surgeon who would operate on the president, since Dr. Roswell Park, the Exposition Medical Director, was in Niagara Falls.8 Crowds gather outside the Exposition's Emergency Hospital, where President McKinley was taken for treatment. President McKinley's surgery began at 5:20 p.m., one hour and 20 minutes after the President was shot. Dr. Matthew D. Mann, however, was an obstetrician and gynecologist, with no experience treating gunshot wounds. Yet he was recommended by Board President John G. Milburn and performed the surgery that would remove one of the two bullets lodged in McKinley's body. The other attending physicians were P.M. Rixey, Eugene Wasdin, and Herman Mynter. Roswell Park would arrive later. Following his surgery, the President was taken by ambulance (driven by medical students Ellis and Simpson) from the Exposition Hospital to the home of John Milburn in Buffalo for further treatment and recuperation. An anxious public and press awaited the daily medical bulletins issued by McKinley's physicians. During the eight days following the shooting, the President first seemed to rally but then finally weakened. Thomas Leary and Elizabeth Sholes echo the prevailing observation with regard to McKinley's treatment: 9 Roswell Park was a leader in Buffalo medicine, especially antiseptic practice. Dr. Mann and the others were neither trained trauma surgeons nor did they bother with disinfection, not even wearing gloves. The first bullet had done little harm; the second entered McKinley's abdomen. The physicians used improperly sanitized probes and when Mann could not find the bullet, he closed the incision without draining the wound. It was a fateful decision. However, Jack C. Fisher, M.D., in his recent book Stolen Glory : The McKinley Assassination (Alamar Books, 2001) argues that it was severe fluid buildup and not gangrene that was the cause of death. Given the medical knowlege of the time, the President would likely have died, even if Roswell Park had performed the surgery.10 �The Milburn Residence on Delaware Avenue. Photographer: Undetermined. Source: American Monthly Review of Reviews, vol.24, no.4 (October 1901) p. 419. The Press on "Newspaper Row" Receive an Update from Secretary Courtelyou. Photographer: Undetermined. Source: Buffalo Courier, September 22, 1901. Also appeared in American Monthly Review of Reviews, vol.24, no.4 (October 1901) p. 423. Anxious Citizens await word of the President. Photographer: Undetermined. Source: From the collection of the Buffalo and Erie County Historical Society. In A. Wesley Johns, The Man Who Shot McKinley. South Brunswick, N.J. : A. S. Barnes and Co., Inc., 1970. Whether it was gangrene or a lethal build-up of body fluid, President William McKinley died at the Milburn home on September 14, 1901. A small funeral service was held there on Sunday morning, September 15th. McKinley's casket was taken by horse-drawn carriage through the streets of Buffalo to the City Hall, where the body lay in state from 1:30 to 11:00 p.m. Early on the morning of Monday September 16th, the President's remains began a journey first to Washington D.C. and then on to Canton, Ohio, where he would lay in state and then be buried in the city's Westlawn Cemetary. �Images of Mourning in Buffalo September 15-16, 1901 McKinley's Funeral Cortege through Buffalo Streets. September 15, 1901. Photographer: Undetermined. Source: A Buffalo newspaper clipping dated September 19, 1901. Courtesy of Stephanie Long. McKinley's Casket Arrives at Buffalo City Hall. September 15, 1901. Photographer: Undetermined. Source: American Monthly Review of Reviews, vol.24, no.4 (October 1901) p. 426. McKinley's Casket Being Carried into Buffalo City Hall. September 15, 1901. Photographer: Oscar A. Simon & Bro., Photographers. Source: Appeared in the Buffalo Courier, September 22, 1901 and Harper's Weekly, vol.45, no.2335 (September 21, 1901) p. 966. �Citizens at City Hall Await Viewing.September 15, 1901. Photographer: Undetermined [Possibly N. Lazarnick?]. Source: Harper's Weekly, vol.45, no.2335 (September 21, 1901) p.966. McKinley Lying in State in Buffalo City Hall. September 15, 1901. Photographer: Undetermined. Source: Appeared in the Buffalo Times, September 22, 1901. Photograph from the collection of the Buffalo and Erie County Historical Society. Also reproduced in Thomas E. Leary and Elizabeth C. Sholes, Buffalo's Pan-American Exposition, Charleston, S.C.: Arcadia Press, 1998, p. 121. Troops at the Train Station as McKinley's Funeral Train Prepares to Leave Buffalo. September 16, 1901. Photographer: Undetermined [Possibly N. Lazarnick?]. Source: Harper's Weekly, vol.45, no.2335 (September 21, 1901), p. 967. �The President's Funeral Train Leaves Buffalo for Washinton, D.C. September 16, 1901. Photographer: Undetermined [name at lower right is illegible]. Source: Undetermined. Washington D.C. -- September 16-17, 1901 McKinley's Casket enters the Capitol Grounds in Washington, D.C. September 17, 1901.Photographer: Undetermined. Source: [The Illustrated Buffalo Express. Buffalo, N.Y. : J. N. Matthews Company, 1901?] �View from the Capitol Building, Washington, D.C. September 17, 1901. Photographer: Undetermined. [Possibly N. Lazarnick?]. Source: Harper's Weekly, vol.45, no.2335, (October 21, 1901) p. 968. Canton, Ohio -- September 18-19, 1901 The President's Funeral Train Arrives in Canton, Ohio. September 18, 1901. Photographer: Undetermined. Source: Harper's Weekly, vol.45, no.2335 (September 21, 1901) p. 988. The McKinley Home - Under Military Guard. September 18 or 19, 1901. Photographer: Undetermined. Source: Harper's Weekly, vol.45, no.2335 (September 21, 1901) p. 973. �Solemn Procession from the Train Station to the Stark County Court House. September 18, 1901. Photographer: Undetermined. Source: Harper's Weekly, vol.45, no.2335 (September 21, 1901) p. 973. Funeral Services at the First Methodist Episcopal Church in Canton. September 19, 1901. Photographer: Undetermined. Source: Harper's Weekly, vol.45, no.2335 (September 21, 1901) p. 973. "At the Threshold". Illustrator: W. A. Rogers. Source: Harper's Weekly, vol.45, no.2334 (September 14, 1901) p. 909. �References: 1. A. Wesley Johns. The Man Who Shot McKinley. South Brunswick, N.J. : A. S. Barnes and Co., Inc., 1970, pp. 27­ 28. 2. This photograph of McKinley was taken by photographer Frances Benjamin Johnston (1964-1952) and is held in the Johnston Collection of the Prints and Photographs Division of the Library of Congress (lot 2967). It also appears in Pete Daniel and Raymond Smock. A Talent For Detail : The Photographs of Miss Frances Benjamin Johnston, 1889-1910. New York : Harmony Books, [1974], p. 68. 3. A. Wesley Johns, The Man Who Shot McKinley., p. 18. 4. Ibid., pp. 18-19. 5. Ibid., p.20. 6. Ibid., pp. 28-29. 7. Buffalo Courier (morning edition), September 6, 1901, p. 4. 8. A. Wesley Johns, The Man Who Shot McKinley, pp. 70-71. 9. Thomas E. Leary and Elizabeth C. Sholes. Buffalo's Pan-American Exposition. Charleston, S.C. : Arcadia Press, 1998. p. 118. 10. Jack C. Fisher, M.D. Stolen Glory : The McKinley Assassination. La Jolla, CA : Alamar Books, 2001. �Leon Czolgosz and the Trial On September 5, 1901 Leon Czolgosz unsuccessfully sought an opportunity to assassinate President McKinley at the Pan-American Exposition in Buffalo. A second assassination attempt, by this self-proclaimed Anarchist, was successful. On September 6, at an afternoon reception at the Temple of Music, Leon Czolgosz, as if reaching to shake his hand, fired two shots into the President. Czolgosz was immediately wrestled to the ground by another person in the greeting line, James Parker, an AfricanAmerican waiter who had just been laid off and was looking forward to shaking the hand of the president. [See a related essay on James Parker.] Body guards, police and soldiers of the U.S. Artillery, sent to the Temple of Music to supplement the President's protection, descended upon Czolgosz and began to beat him. From where he lay wounded, President McKinley was heard to have said, "Go easy on him boys." • Who was Czolgosz? • Was the McKinley Shooting Czolgosz's "Great Act?" • The Act • Arrest and Confession • The Charge Becomes Murder in the First Degree • Czolgosz's Arraignment • The Trial of Leon Czolgosz Who was Czolgosz? Leon Czolgosz, (alias Fred C. Nieman,) was born in Detroit, Michigan in 1873. His father was a Polish immigrant and his mother German. He had five brothers, Waldeck, Frank, Jacob, Joseph and Michael, and two sisters, Ceceli and Victoria. His mother died of complications from childbirth at the age of 40 but his father soon remarried. Leon's family moved frequently, although they tended to remain in areas dominated by Polish culture. Although he had attended school for only 5 years Leon was an avid reader and considered to be the "family intellectual." He worked in various factories and mills, and by age 19, as the labor movement became more and more active, he began to distance himself from his Catholic roots. Compelled by what he felt were unfair human labor conditions (compounded by instability at home) Portrait of Leon Czolgosz.Photographer/Engraver: Undetermined. Source: Harper's Weekly. September 21, 1901. �Czolgosz became a socialist and began to seek out those who shared and promoted socialist ideals. He was drawn to the big names in the Anarchist movement--Emil Schilling, of the Cleveland Anarchist group Liberty Club, Abraham Isaak, editor of Free Society, and of course, his inspiration, Emma Goldman. Upon hearing her speak, Czolgosz considered himself an Anarchist. Yet local and national anarchist groups grew suspicious of Czolgosz and shunned him--many considered his references to revolution, secret plots and "conspiracies" to be dangerous. A mental breakdown in 1898 had affected his emotional and mental stability and he became more withdrawn, moving frequently between Chicago, Detroit, his family's farm near Cleveland and Buffalo, although he spent most of his time in the latter two cities. Dr. Walter Channing, an alienist and Professor of Mental diseases at Tufts Medical School, made a detailed study of Czolgosz's case in 1902. "While in this physical and mental state of sickliness," wrote Dr. Channing, "it is probable that he conceived the idea of performing some great act for the benefit of the common and working people."1 Was the McKinley Shooting Czolgosz's "Great Act?" Considering his stated confession, "I have done my duty. I did not feel that one man should have so much service, and another man should have none, " the shooting of the President of the United States may have well have been the "great act" Channing refers to. There are contradictory theories as to whether Czolgosz's plan preceded his late summer arrival in Buffalo. He had spent some time in a West Seneca, NY (a Buffalo suburb) boarding house for most of the summer of 1901, but had left for Cleveland only to return to Buffalo a few days later to take a room in John Nowak's saloon on the city's predominantly Polish East Side. Czolgosz states in a later account, that he did not plan the assassination until after returning to Buffalo on that day, August 31, 1901. Czolgosz had told interrogators that he was in Buffalo looking for work. Perhaps he traveled to Buffalo because of its large Polish population or, because he wished to take advantage of the low excursion rates offered at the time of the Exposition.2 Certainly, the president's visit to the Pan-American Exposition was not publicized until early August and Czolgosz had arrived in the city long before. Yet Margaret Leech points out that he had been in the city for most of the summer--through mid August. "McKinley's coming visit, heralded by great publicity, was known to everyone who followed the news."3 (And Leon Czolgosz was always carrying a newspaper.) Thus, while he may not have originally set out for Buffalo to shoot the president, there is ample evidence to suggest that he had planned it long before August 31st, as he claimed. �The Act Leon Czolgosz shot William McKinley as the President received greeters at the Temple of Music on September 6, 1901. Czolgosz stood in line with hundreds of others who were hoping to shake the President's hand. That he had his hand wrapped in a handkerchief was apparently of little concern as it was a sweltering day and handkerchiefs were visible everywhere. Accounts of exactly what happened vary from newspaper to newspaper. The Buffalo Express (Sept. 7, 1901) reported that a young girl was in line in front of Czolgosz while the Commercial (Sept. 7, 1901) printed secret service agent Ireland's account, stating that there appeared to have been a man in line in front of Czolgosz who "lingered too long." James Parker, the Negro waiter who wrestled Czolgosz to the ground, was said to have been behind the assassin in some accounts and in front of him in others. (As Daryl Rasuli points out in his essay, many of the newspapers did not even report Parker's involvement until sometime later.) What is known, however, is that Czolgosz fired two shots into President McKinley and was immediately apprehended. The public was enraged. From the Buffalo Express, Sept. 7, 1901: ... "Lynch Him" cried a hundred voices and a start was made for one of the entrances to the Temple of Music. The soldiers and police sprang outside and beat back the crowd.... In the midst of the confusion, Nieman [Czolgosz] still bleeding from his blows and pale and silent with his shirt torn was led out quickly by Capt. James F. Vallely, chief of the exposition detectives, Assistant-Commandant Robertson and detectives. They thrust him into a closed carriage. The detectives leaped in with him and Capt. Vallely jumped in the driver's seat as they lashed the horses into a gallop. A roar of rage burst from the crowd. "Murder! Assassin! Lynch him! Hang him!" yelled the thousands, and men, women and children tore at the guards, sprang at the horses and clutched the whirling wheels of the carriage. Nieman huddled back in the corner concealed by the bodies of two detectives. Arrest and Confession Czolgosz used the alias Fred Nieman and his police record listed him as twenty-eight years old, 5ft. 7-5/8 in., weighing 138 pounds. He was further described as being of medium build and complexion, with dark blue eyes and red-brown hair. The nature of the crime, stated on his record is as follows:4 "While Wm. McKinley the President of the United States was holding a public reception in the Temple of Music at the Pan-Amer. Exposition, he was shot in the abdomen twice with a .32 cal. revolver." �Photograph of Czolgosz and Facsimilie of Czolgosz's Police Report. Photographer: Undetermined. Source: Facsimilie of Czolgosz's police report-- provided by the Buffalo and Erie County Historical Society. After being processed at Buffalo Police Headquarters, Czolgosz was interrogated by District Attorney Thomas Penney. He confessed to the crime, stating that "I killed President McKinley because I done my duty. I didn't believe one man should have so much service, and another man should have none." Interestingly, the date of the signed confession, September 6, 1901, was fourteen days prior to the actual death of McKinley, suggesting the Czolgosz was unaware at the time that the President was still alive. A Buffalo Express reported Czolgosz as saying that 3 or 4 days prior to the shooting, he conceived the idea of shooting the president but hadn't determined how. He claimed that he had purchased the revolver at a store on Main Street for $4.50 the morning of the shooting and that although he had later followed the President to Niagara Falls, an opportunity did not present itself until the McKinley's Temple of Music reception.5 �A Facsimile of Czolgosz's Confession. Source: Karpeles Manuscript Museum, Buffalo, N.Y. Apparently, Leon Czolgosz was a model prisoner, saying and doing very little to defend himself or to provide any additional information as to why he had committed this crime. Police were convinced that he was part of a larger anarchist conspiracy. If such a conspiracy could be proven, Czolgosz could be tried in federal court. As mentioned in the Anarchy section of this site, Emma Goldman and some of anarchists with whom Czolgosz identified were arrested. Likewise, anyone with whom Colgosz had contact in the Buffalo area was also questioned. John Nowak, owner of the East Side saloon (1078 Broadway) where Czolgosz stayed, was taken into custody with three other men for questioning.6 Upon the president's death, Buffalo physician Dr. I. Saylin was also arrested in connection with the assassination. Although he did not know Czolgosz, he had met with Emma Goldman during her visit to Buffalo.7 Like Nowak, Saylin was eventually released. No evidence of a conspiracy or the involvement of anyone other than Czolgosz was ever discovered. In fact, up to the point of his execution, Czolgosz maintained that he had acted alone. He has the "Phrenological Characteristics Common to Criminals" Czolgosz was becoming more and more withdrawn while in police custody, so much so that by Sept. 10, the Buffalo Courier reported that he was being guarded to prevent suicide. The Sept. 11 Commercial described the prisoner's physical appearance and demeanor in more detail: He Can't Sleep. Czolgosz Has Become Very Rest­ less, Refuses to Talk and Eats Little. �Czolgosz passed a very restless night. He evidently found it impossible to sleep. He rolled restlessly on his hard bed for a long time and then got up and paced up and down in his narrow cell. He hardly tasted of his supper last night. Either his splendid appetite had vanished or he deliberately determined not to eat. It was the same this morning when his breakfast was taken to him. He ate a morsel of it and left the rest. At 8 o'clock he began to walk up and down in his cell. He has refused to talk to his guards. He never says a word to anybody and answers no questions. The police do not know just what to make of this change. It may herald a complete break-down. Has A Beard Now. ———— Czolgosz is not Permitted to Shave Himself-Still Wears the Blood- Marked Shirt. ———— Czolgosz appears at least ten years older today than he did at the time of his arrest. The principal reason for this change probably is the fact that he has grown a beard, which now covers the whole lower portion of his face. Czolgosz is not permitted to shave himself, nor is it the intention of the police to call anybody in to shave him. In fact, they are no more particular about his personal appearance than Czolgosz is himself. So long as Czolgosz remains in his dungeon at police headquarters, which is likely to be some days at least, his beard will grow unmolested. Czolgosz's beard is rather full and heavy. It begins high up on his cheeks and runs low on his neck. It is a brown beard and rather dark, and just at present is fully one-quarter of an inch long. It evidently troubles him some, too, for he frequently runs, his fingers through it, as if annoyed by its length and thickness. The combination of the thick, stubby, beard and the general untidy appearance of the prisoner makes him look a great deal more like the typical anarchist than on the day of his arrest. Since last Friday, Czolgosz has neither washed himself nor combed his hair. He is wearing the same clothes, including his underwear, which be had on when he shot the President. He was not provided with a change of linen and the police did not think it was their duty to secure any for him. He wears neither coat nor vest. His faded shirt is soiled and is spotted with blood, the blood which was from his nose and face by the blows which were rained upon him immediately after he shot the President. The button holes in the collar of his shirt are ripped apart. Parker, the big negro, did that when he seized Czolgosz and prevented him from firing a third shot. His hair is long, heavy and tangled. It falls over his face and ears and is beginning to turn up at the back of the neck. Czolgosz has made one request for a comb. It was denied him, and since then he has displayed not the slightest interest in his personal appearance. As he appears now, there are not very many men who would be particularly delighted to meet Czolgosz in a lonely by way at night. There is a good deal of the animal in his make-up. The police say he has the phrenological characteristics common to criminals of a low and degraded class. �The Charge Becomes Murder in the First Degree Upon the death of President William McKinley on September 14, 1901, his assassin Leon Czolgosz was soon removed from the Buffalo Police Headquarters and taken to the Erie County penitentiary. Superintendent Bull told Czolgosz that "he was in danger and it would mean his immediate death if he made any attempt to escape.... The prisoner was then told that Mr. [Patrick] Cusack, [Assistant Superintendent of Police,] was to take him to the Penitentiary.... His clean shirt, which had been bought for him several days before, had been put on and Czolgosz looked fairly respectable, except for a shaggy beard, which partly covered his face, the result of a week's confinement.... There were probably a Buffalo Police Headquarters. Photographer: Undetermined. Source: Buffalo Courier, September 8, 1901. dozen curious people standing near Police Headquarters. They were satisfied to look at the building which they supposed contained Czolgosz. None of those curious people imagined that the man who walked out ahead of Mr. Cusack was Czolgosz."8 Czolgosz's Arraignment Murder in the First Degree is the Finding of the County Court Grand Jury The following Buffalo Commercial article briefly describes Czolgosz's arraignment.9 Prisoner Was Stubborn. He Refused to Answer Questions, Refused to Say Whether or Not He Wanted a Lawyer, and Judge Emery Appointed Former Jus tices Loran L. Lewis and Robert C. Titus as His Counsel-----Czolgosz Had Been Confined in the Penitentiary. �Erie County Court Judge Edward K. Emery. Photographer: Undetermined. Source: Source: Men of Buffalo: A Collection of Portraits of Men Who Deserve to Rank as Typical Representatives of the Best Citizenship, Foremost Activities and Highest Aspirations of the City of Buffalo. Chicago: A.N. Marquis & Co., 1902, p. 319. References 1. A. Wesley Johns, The Man Who Shot McKinley, South Brunswick, N.J. : A. S. Barnes and Co., Inc., 1970, p. 39. Most biographical information about Leon Czolgosz is from the Johns book and from Margaret Leech's In the Days of McKinley, New York : Harper & Row, 1959. Additional information on the ethnicity of Czolgosz's parents was provided by Wanda Slawinska. 2. Robert J. Donovan, in A. Wesley Johns, The Man Who Shot McKinley, p.43. 3. Margaret Leech,. In the Days of McKinley, New York : Harper & Row, 1959, p. 593. 4. Police report on Leon Frank Czolgosz, arrested September 5, 1901. Department of Police, Buffalo, N.Y., Bureau of Identification. 5. Buffalo Express, September 8, 1901. While enroute to Auburn State Prison after his sentencing, Czolgosz would state that this was an error. In an interview published in the Buffalo Express, September 27, 1901, he claimed to have not planned to shoot McKinley at Niagara Falls. 6. Buffalo Enquirer, September 7, 1901. 7. Buffalo Commercial, September 15, 1901. 8. Buffalo Express, September 17, 1901. 9. Buffalo Commercial, September 16, 1901. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pan-American Exposition of 1901 Description An account of the resource The Pan-American Exposition was held in Buffalo, New York from May 1 to November 2, 1901. Buffalo was chosen as the location because of its size (at the time it was the eighth largest city in the U.S. with a population of approximately 350,000) and also because of its well suited railway connections. The grounds spread across 342 acres and were located between Delaware Park Lake to the south, the New York Central railroad track to the north, Delaware Avenue to the east, and Elmwood Avenue to the west. The Exposition included educational exhibits as well as a Midway. The educational exhibits showcased the latest advancements in technology, most notably electricity. A major feature was electric lighting which utilized hydroelectric power generated in nearby Niagara Falls. Many of the Exposition buildings, including the prominent Electric Tower, were covered in light-bulbs creating a beautiful and unprecedented sight. The Pan-American Exposition also hosted some of the top engine manufacturers of the time. These companies provided “working exhibits” that actually functioned in the day-to-day operation of the Exposition. The Midway at the Pan-American Exposition provided visitors with entertainment and consisted of more than 42 exhibits. Some of the main attractions of the Midway included the “House Upside Down,” “Cleopatra’s Temple”, and the “Foreign Villages.” The Pan-American Exposition is most widely known as the location of President McKinley’s assassination. On September 6, 1901, while in a receiving line at the Exposition’s Temple of Music, President McKinley was shot twice by anarchist, Leon Czolgosz. McKinley was taken to the Exposition’s hospital where he was operated on by a number of prominent Buffalo surgeons including Roswell Park. The President was then taken to the home of John Milburn, head of the Exposition’s Board of Directors, to recover. After his condition appeared to improve, McKinley eventually died on September 14, 1901 in the Milburn home due to infection and gangrene from the gun shot wounds. Identifier An unambiguous reference to the resource within a given context LIB-005 Subject The topic of the resource Pan-American Exposition (1901 : Buffalo, N.Y.) Source A related resource from which the described resource is derived State University of New York at Buffalo. University Archives Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Format The file format, physical medium, or dimensions of the resource image/jpeg Type The nature or genre of the resource Image Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Legal Aftermath of the Assassination of William McKinley Description An account of the resource Document describing the legal aftermath of the assassination of William McKinley at the 1901 Pan-Am Exposition. Creator An entity primarily responsible for making the resource State University of New York at Buffalo. University Libraries Source A related resource from which the described resource is derived Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Publisher An entity responsible for making the resource available State University of New York at Buffalo. University Libraries Date A point or period of time associated with an event in the lifecycle of the resource 2001 Format The file format, physical medium, or dimensions of the resource application/pdf Language A language of the resource en-US Type The nature or genre of the resource Text Identifier An unambiguous reference to the resource within a given context pan-am-anarchy-and-assassination Date Created Date of creation of the resource. 2018-07-13 Is Part Of A related resource in which the described resource is physically or logically included. Illuminations: Revisiting the Buffalo Pan-American Exposition of 1901 website. Subject The topic of the resource Exhibitions--New York (State)--Buffalo Pan-American Exposition (1901 : Buffalo, N.Y.) McKinleyWilliam1843-1901--Assassination Rights Information about rights held in and over the resource <a href="https://rightsstatements.org/page/NoC-US/1.0/">NO COPYRIGHT – UNITED STATES</a>. 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