Sunday, March 5, 2017

The Williams Family Distillery

Here's another recent find.  The following text comes from the History of Sandusky County, Ohio, published in 1882.  It describes a distillery run by my 4x great grandfather Ezra Williams, and his cousin or uncle Ammi Williams Sr.  It's worth noting that Ammi was married to Sallina (or Salina) Eastman, and after he passed away in 1826 she married Ezra.  The book lists several other details about Ammi and Ezra (and unfortunately nothing about Sallina, my 4x great grandmother).  They were respected members of the community.
Ammi and Ezra Williams began operations in 1825, in a log building standing where Ammi Williams, jr., now resides. Nothing now remains of the structure or the apparatus of the still, the last vestige —- a great, heavy, black-walnut trough, into which the still swill was poured —- having been chopped for firewood only two years since. Ammi Williams, sr., died suddenly in 1826. In the following year Ezra Williams, having completed a building at the foot of the east side-hill on the south side of State street, moved his still therein, and continued operations.

The building was a substantial, unpainted frame one, of two stories in height. It was close to the foot of the hill, and afforded a fine basement in which the high-wines and whiskey were stored. The furnace and steam tubs were also below, On the main floor was located the mash tubs and worm, and the second story was used as a grain floor. This structure was afterwards torn down in 1839. Ezra Williams was a very conscientious man. The whiskey he manufactured was absolutely pure, and although even preachers drank in those days, no cases of delirium tremens were ever known to result from even an over-load of this early-day liquor. The whiskey jug had its place with more necessary articles of consumption in the cabin of the settler, and at meal time helped set off the table. The Indians were great imbibers of "fire-water," and bought it at the distillery by the pint, quart or gallon. They were generally very much excited under its influence, and Williams avoided selling to them as much as possible, this course being agreeable to the old chief, Hard Hickory, who was desirous to altogether prevent the sale to them.

The article manufactured was distilled from corn and rye -- two-thirds of the former to one-third of the latter. Copper boilers were not used, but to render it better it was distilled by steam in air-tight wooden tubs or casks. Joseph Edwards was the head distiller, and under his experienced management one bushel of grain produced from eleven to thirteen and one-half quarts of whiskey. From twelve to thirty-three bushels of grain was distilled per day, the distillery running generally all the year round, with from two to three men in attendance. In those days corn was worth from twenty-five to fifty cents per bushel, and rye from sixty to ninety cents. The whiskey retailed at from thirty-five to fifty cents per gallon, and from twenty-eight to forty cents per gallon by wholesale. It was of the color of purest spring water, and held a good bead for the length of a minute. Burnt sugar was the only foreign material used in its composition, and this was introduced to give it the rich, yellow color, indicative of mellow old age.

A treadmill, to do the grinding, was connected with the establishment. Williams also occupied himself with farming, and was necessarily a butcher, as he raised large numbers of hogs and kine on the refuse matter of the still.

It seems that the subject of temperance was little discussed, at least not openly, in those days, and no demonstrations of a crusade nature ever disturbed the serenity of these primitive distillers; but about 1830 a temperance society, known under the name of the Washingtonians, began to exert some influence in the county. Religious revivals were held here in ensuing years, and with this movement the temperance organization grew stronger. In 1837 Ezra Williams joined the church, and the same year, deeming that spiritual and spirituous matters (in spite of the seeming paradox), could not consistently blend together, he, in keeping with his recent profession of faith, abandoned a pursuit which was opening to him a sure road to wealth.

The manufacture of whiskey was of considerable benefit, in a commercial light, to the county. It was the chief source of revenue to the farmers. Corn was then the principal production, and the rates of transportation were so high that any undertaking to convey it to the markets of the East assured financial failure on the part of the operator. The distillery acted as a medium. The corn was sold to the distillers; the whiskey was exchanged for goods with the traders and merchants, and then easily shipped to the metropolis.

Source:
History of Sandusky County, Ohio: with Portraits and Biographies of Prominent Citizens and Pioneers (1882), p425-26

Saturday, February 18, 2017

Lafayette Avenue, Brooklyn

My latest find is this pair of photos of the block in Brooklyn where several of my ancestors lived.  This is the south side of Lafayette Avenue, between St. Felix Street and Ashland Place (formerly Raymond Street).  The eight houses on this block were built in 1857.  From left to right, they were #36 through #22.  The block was razed in 1905 to make way for the new Brooklyn Academy of Music building which still stands there today.

Lafayette Ave from the corner of St. Felix Street

The condensed family history on this block: #28 was home first to the Harrison family - Frederick H. Harrison, his second wife Caroline Cutler, and two daughters from his first marriage: Mary and Hattie.  Mary E. Harrison met Henry C. Williams at a dance, and he called on her at the house.  They were married there by none other than Rev. Henry Ward Beecher.  In 1878, Mary and her father Frederick passed away within a few months of each other.  Two years later, Henry C. Williams moved into #28 with his second wife Mary Sellers, and his and Mary Harrison's sons: Freddie and Harry.  Caroline Cutler Harrison still lived with them for a time.  Meanwhile, the Corbett family - Marshall J. Corbett, Alice Waldron, their son and four daughters - lived next door at #26.  Frederick H. Williams courted one of those daughters, Alice E. Corbett, and they married in 1893.  After setting up house nearby and having their first child (Marshall), they moved into #28 to help take care of Fred's father.  The Corbetts left #26 and moved to Corbettsville, New York, in 1893.  The Williamses left #28 and also moved to Corbettsville, in 1898.

Lafayette Ave from the corner of Ashland Place.

Frederick H. Williams described the house at #28:
It was one of those red brick, three story and basement houses, in the center of the block. ... The dining room and kitchen occupied the basement, about three feet below sidewalk level.  On the next floor, a huge parlor with an "extension" ran the length of the house, used only when callers came or on Sunday evenings when father and mother sang hymns and simple little songs like "Annie Laurie".  At the front end of the parlor between two large windows was a "pier glass" extending from near the floor almost to the ceiling and framed in gilt.  On either side in the corner stood a couple of busts on their pedestals, one of John Bright and the other of [Richard] Cobden, for my grandfather was a "free trader" and admired those two Englishmen.  Some of the chairs and sofas were covered with a rose colored silk plush which we thought very right and beautiful.

On the second floor front was a large bedroom with an alcove used by father and mother; this was also the family sitting room where we played or studied our lessons.  Back of this was another large bedroom -- Harry's and mine.  All rooms were large and high ceilinged in those old houses.  On the third floor were four more bedrooms -- [two for guests, one for the cook and one for the housemaid]. ... Our houses were lighted by gas, a chandelier having from two to four jets and the light so dim by modern standards that I wonder our eyes did not give out early.  As the lights were quite high, we sometimes had a bright oil lamp on the center table to study or read by.

Richard Cobden
Richard Cobden
John Bright
John Bright

Sources:
Special thanks to the Brooklyn Historical Society - I found these photos by searching their image database.
Brooklyn Daily Eagle, 10 Jan 1905, illustrated supplement page 1.
New-York Tribune, 19 Feb 1905, page 7.

Wikimedia Commons.
Family papers.

Saturday, November 26, 2016

Green-Wood Cemetery

Williams family plot in Green-Wood Cemetery
I've been bitten by the cemetery bug!  It was bound to happen sooner or later.

On a recent visit with my parents (and after quite a bit of preparation), we visited family grave sites in Brooklyn and New Haven.  I'll share things from New Haven later.  For now, here are some photos from the Williams family plot in Green-Wood Cemetery in Brooklyn.  It includes my 2x great-grandmother, Alice Corbett Williams, and my 3x great-grandparents, Mary Ellen Harrison and Henry Clay Williams.

The outing raised a new question (as these things often do).  There was a Sarah Williams buried in the family plot in 1887, and I don't know yet how she connects with the family.  A cousin, perhaps?

If anyone else in the family visits Green-Wood, it's worth pointing out that the famous clergyman and abolitionist Henry Ward Beecher is also buried there.  Mary E. Harrison and Henry C. Williams attended Plymouth Church, and Beecher conducted their wedding in 1866.

Monday, October 17, 2016

The New York Philharmonic, 1877-78

For the past several weeks I have been exploring classical music with my great-great-grandfather, Frederick H. Williams.

Fred mentioned classical music several times in his memoirs.  He studied violin in his youth.  His mother, Mary E. Harrison Williams, played piano.  Later in life, he built up a collection of phonograph records and enjoyed sharing that music with others.  Since I also enjoy the genre, I got curious about which pieces he might have heard.  In particular, he wrote:
During the winter of 1877-8, my mother took me several times on Friday afternoons to hear the "rehearsals" given by the famous Philharmonic Orchestra under the leadership of Theodore Thomas preparatory for the Saturday night concert.  I can never forget the thrill I used to get at hearing the great symphonies and other music played and at the magnificent chords and harmonies that made me forget everything mundane.  This was my introduction to classical music and I have loved it ever since and have always tried to be present at every fine concert available to me.
Theodore Thomas in 1880
Theodore Thomas in 1880
Fred was nine years old that winter.  Theodore Thomas had just been hired to lead the Philharmonic, which was trying to recover from a dire financial situation.  Thomas was already well-known.  He had his own orchestra which played in New York and toured for over a decade.  He was the first major proponent of Wagner's music in America, premiering "Ride of the Valkyries" in New York in 1872.  He founded the New York Wagner Union that very same evening.  The Philharmonic's 1877-78 season included Wagner's Faust Overture, the Prelude to Act I of Die Meistersinger, and Siegfried's Funeral March and the Finale from Götterdämmerung.

Discovering which pieces were performed during that season proved easier than I expected; the New York Philharmonic has an online archive of old programs, including all six concerts given that year.  I put together a Spotify playlist with all of those works and spent several days going through it all.1  As one might expect, only some of the pieces are still performed regularly today.

In terms of the symphonies which Fred said he enjoyed so much, he and his mother might have heard Beethoven's Sixth (Pastoral) or his Eighth, Schubert's Ninth (Great), Mozart's 38th (Prague), Joachim Raff's Third (In the Forest) or Anton Rubinstein's Second (Ocean).  The latter two are new to me.

I have been most interested in the pieces which I haven't heard before.  These include the Overture to Luigi Cherubini's opera Les Deux Journées, Robert Volkmann's Serenade No. 3 for Cello and Strings, Karl Goldmark's Sakuntala Overture, and Franz Liszt's song "Die Loreley."  Several selections were also given from Beethoven's incidental music to Egmont - beyond the Overture which is typically the only portion presented today.

Joachim Raff in 1878
Joachim Raff in 1878
My favorite discovery from this whole process has been Joachim Raff.  Not only was his Third Symphony performed, but the Philharmonic gave the American premiere of his Suite for Piano and Orchestra with the well-loved Sebastian Bach Mills as soloist.  This work has a catchy theme that leapt out at me while listening through everything, and it prompted me to explore more of his work.

Joachim Raff was a prolific German-Swiss composer.  He worked as an assistant to Franz Liszt for several years, then focused on his own compositions.  He became very popular in his own day.  His works declined from favor after he passed away in 1882, which seems a shame.  Fortunately, recordings do exist for most of his major works, and I have enjoyed listening to them.2

The Philharmonic's season also included works by Brahms, Schumann, Mendelssohn, Berlioz and Weber.  It is worth nothing that Brahms, Goldmark, Liszt, Raff, Rubinstein and Wagner were all alive and actively composing at that time.

I have greatly enjoyed exploring classical music from this unusual angle.  I should actually say that I'm still enjoying it, and I may have more to say on the subject in a future post.



Notes:
1. For this playlist, I chose recordings by the New York Philharmonic wherever possible.  I was able to find every piece from the season except one song: Rubinstein's aria "Hecuba."  That song and one other weren't actually performed, as the soloist had to cancel due to illness.
2. There is a very thorough website covering Raff's life and compositions at Raff.org.

Sources:
Family papers
New York Philharmonic digital archives for 1877-78
Theodore Thomas, a musical autobiography
The Early Influence of Richard Wagner in America, by Viola Knoche
Wikipedia

Monday, October 3, 2016

Cantilevers Continued

I've just come across another article about the construction of the American Tract Society Building.  It included two photos of the great cantilevers, as they were being installed in the sub-basement:

First cantilever on the Nassau Street side.

Second cantilever on the Spruce Street side.

The article discussed many details of the construction of the building.  It revealed this about the advanced derrick which was used: "The best test of the structure's capacity, which has been made, was when loads of 7, 6 and 5 tons were swung on three corners at the same time.  Lighter loads have been swung from all [five of] the booms at once."

Source:
The Railroad Gazette, vol 26, 14 Dec 1894, p850-852.

Wednesday, August 3, 2016

Terrapins and Cantilevers

I recently stopped by the American Tract Society Building with my brother, hoping to find out if any historical or architectural tours are ever given.  The doorman said no, but was glad to chat about the building's history.  When I mentioned that there used to be a restaurant on the roof he immediately pulled out a photocopy of a lunch menu from 1901.  The prices range from 5 cents for a cup of coffee or a Charlotte Russe, to a full dollar for the fanciest dish: Diamond Back Terrapin a la Maryland.

The Eyrie, luncheon menu
After we told the doorman about our family's connection to the building, he said that there are some large steel columns on the sub-basement level which now serves as a parking garage.  Luckily, we were able to go and take a look at this steel work... the first time I have seen steel which I know Atlas Iron put in place.

Steel column
In constructing this building, the lot was dug down to 36 feet below street level.  Piles of American Spruce were driven into the ground from there, to a depth of 10 to 40 feet.  These were capped with concrete and then granite slabs, on which the steel columns rest.  The cast iron shoes for some of the columns (seen above) are about five feet square.  The granite slabs beneath them are ten inches thick and guaranteed to bear a load of two and a half tons per square inch.

Columns and cantilevers
 
Cantilever schematic
In two areas, foundations for the columns could not be provided.  Therefore, pairs of cantilevers were constructed on either side of a pair of columns (seen above).  The weight from one column in the building above is transferred to the two other column footings.  The cantilevers are 40 feet long and 12 feet high above the shoe.  The steel columns were fireproofed with four inches of brickwork, and the cantilevers with wire lathing and heavy-gauged mortar an inch thick.  There are at least 500 tons of steel on the sub-basement level alone.

If you look carefully, you can spot these same cantilevers in the construction photo which I previously posted.  It was a thrill to see them in person.

More of the cantilevers


Sources:
"American Tract Society's 20-Story Office Building, New York City", Engineering News, vol 32, no 26, 27 December 1894, p526-529.
"Erection of American Tract Society's Building, New York", The Engineering Record, vol 31, no 3, 15 December 1894, p44-47.

Tuesday, June 28, 2016

The Offerman Water Tank

I came across two listings in the Real Estate Record which state that Atlas Iron built a water tank for the Offerman Building in Brooklyn, around the time of its completion in 1893.

This tank intrigued me.  The building was commissioned and owned by Henry Offerman.  At first it was referred to as the Wechsler Building, because it housed clothiers S. Wechsler and Brother (who later moved to one of the storefronts at 532-540 Fulton St.).  The building still stands at 503-513 Fulton Street, and it still has a large water tank on its roof.  As always, I wanted to know more.  I also wondered - knowing this was highly unlikely - whether the current tank could possibly be the same one that Atlas Iron put in place.

The Offerman Building's water tank

After searching for as many details and photos as I could, and then visiting the building to see the tank in person, I'm convinced that it can't be the same one.  However, it seems that a tank of similar size has always been in that spot on the roof.  A photo from 1930 and a photo from 1941 both show tanks which match the one standing there today.  A tax map from around 2003 actually shows two tanks, one in that spot marked "20,000 gal" while the other was a smaller tank at the center of the building's Duffield Street facade (since removed).  I'm inclined to think that the larger tank is the one which Atlas Iron built, but I can't even be sure of that.

While researching this, I learned that there are only three companies in the city which work on water tanks today.  Most are made of wood, but steel is occasionally used (and is then encased in wood to help keep the tank cool).  I contacted all three companies to see if they had any records of working on this tank, and only one responded to say that they didn't.

In the end, this tank interested me because it was something new and different from the other things that I've been researching. 


Side note: I've recently added a few more details to some of my other posts about Atlas Iron's projects.  Check for my additions as comments on the Morris Building, 532-540 Fulton St. and the Brooklyn Post Office Annex.


Sources:
Real Estate Record and Builder's Guide, 31 Dec 1892, p894; 4 March 1893, p348.
Landmarks Preservation Commission designation listing for the Offerman Building.
"The Other Downtown", New York Times, 22 Nov 2013.