Chapter 37

At the age of twenty-one, he went back to Ireland to take possession of a legacy of nearly one thousand pounds, left him by his grandfather. He invested the greater part of this sum in "insertions" and "scollop trimmings," and returned to New York. He rented a little store at 283 Broadway, and there displayed his stock, which he sold readily at a fair profit. His store was next door to the then popular Bonafanti, who kept the largest and best patronized variety store of the day. Stewart's little room was twenty-two feet wide by twenty feet deep.

Without mercantile experience, and possessing no advantage but his determination to succeed, Mr. Stewart started boldly on what proved the road to fortune. He gave from fourteen to eighteen hours per day to his business. He could not afford to employ any help, and he did all his own work. He was almost a total stranger to the business community of New York, and he had no credit. He kept a small stock of goods on hand, which he bought for cash and sold in the same way for a small profit. His purchases were made chiefly at auctions, and consisted of "sample lots"--that is, miscellaneous collections of small articles thrown together in heaps and sold for what they would bring. He spent several hours after business each day in assorting and dressing these goods. They were sold at a low price, but his profit was fair, as he had paid but a trifle for them. Little by little his trade increased, and he was soon obliged to employ an assistant. About this time he inaugurated the system of "selling off below cost." He had a note to pay, and no money to meet it. His store was full of goods, but he was short of ready money. No man could then afford to let his note go to protest. Such a step in those days meant financial ruin to a young man. Stewart proved himself the man for the crisis. He marked every article in his store down far below the wholesale price, and scattered over the city a cloud of handbills announcing that he would dispose of his entire stock of goods below cost within a given time. His announcement drew crowds of purchasers to his store, and before the period he had fixed for the duration of the sale, Mr. Stewart found his shelves empty and his treasury full. He paid his note with a part of the money thus obtained, and with the rest laid in a fresh stock of goods. He made his purchases at a time when the market was very dull, and, as he paid cash, secured his goods at very low prices.

The energy and business tact displayed by Mr. Stewart at length brought him their reward. In 1828, he found his little room too small for his trade. He leased a small store, thirty feet deep, on Broadway, between Chambers and Warren streets. Here he remained four years, his trade increasing rapidly all the while. In 1832, he removed to a two-story building in Broadway, between Murray and Warren streets, and in a short time was obliged by the growth of his business to add twenty feet to the depth of his store, and to put an additional story on the building. A year or two later he added a fourth story, and in 1837 a fifth story, so rapidly did he prosper. He had now a large and fashionable trade, had fairly surmounted all his early difficulties, and had laid the foundation of the immense fortune he has since acquired.

The great commercial crisis of 1837 was not unexpected by him. It had always been his habit to watch the market closely, in order to profit by any sudden change in it, and his keen sagacity enabled him to foresee the approach of the storm and to prepare for it. He marked his goods down at an early day and began to "sell for cost," conducting his operations on a strictly cash basis. The prices were very low, the goods of the best quality, and he found no difficulty in obtaining purchasers. People were glad to save money by availing themselves of his low prices. In the midst of the most terrible crisis the country had ever seen, when old and established houses were breaking all around him, he was carrying on a thriving business. His cash sales averaged five thousand dollars per day. Other houses, to save themselves, were obliged to sell their goods at auction. Thither went Stewart regularly. He bought these goods for cash, and sold them over his counters at an average profit of forty per cent. On a lot of silks for which he paid fifty thousand dollars he cleared twenty thousand dollars in a few days. He came out of the crisis a rich man and the leading dry-goods dealer of New York.

A few years later he purchased the property lying on the east side of Broadway, between Chambers and Reade streets, on which he built a magnificent marble store. He moved into it in 1846. His friends declared that he had made a mistake in erecting such a costly edifice, and that he had located it on the wrong side of Broadway. Besides, he was too far up town. He listened to them patiently, and told them that in a short time they would see his new store the centre of the fashionable retail trade of the city. His prediction was speedily fulfilled.

A few years ago, finding that the retail trade was deserting its old haunts, below Canal street, and going up town, be began the erection of his present retail store, into which he moved as soon as it was completed, retaining his lower store for his wholesale business.

During the war, he made large profits from his sales to the Government, though he exhibited genuine patriotism in these dealings by charging only the most liberal prices for his goods. The gains thus realized by him more than counterbalanced the losses he sustained by the sudden cessation of his trade with the South.

Fifty-four years have now elapsed since he first set foot in New York, poor and unknown, and to-day Mr. Stewart is the possessor of a fortune variously estimated at from thirty to fifty millions of dollars, and which is growing larger every year. The greater portion of his wealth is invested in real estate. He owns his two stores, the Metropolitan Hotel, and the Globe Theatre, on Broadway, and nearly all of Bleecker street from Broadway to Depau Row, several churches, and other valuable property. He owns more real estate than any man in America except William B. Astor, and is the most successful merchant in the world. He has acquired all this by his own unaided efforts, and without ever tarnishing his good name by one single dishonest act. Any man may be proud of such a record.

Mr. Stewart is one of the hardest workers in his vast establishment. Though he has partners to assist him, he keeps the whole of his extensive operations well in hand, and is really the directing power of them. He goes to his business between nine and ten in the morning, and works until five, and is never absent from his post unless compelled to be away.

His time is valuable, and he is not willing to waste it; therefore access to him is difficult. Many persons endeavor to see him merely to gratify their impertinent curiosity, and others wish to "interview" him for purposes which simply consume his time. To protect himself, he has been compelled to resort to the following expedient: A gentleman is kept on guard near the main door of the store, whose duty it is to inquire the business of visitors. If the visitor replies that his business is private, he is told that Mr. Stewart has no private business. If he states his business to the satisfaction of the "sentinel," he is allowed to go up stairs, where he is met by the confidential agent of the great merchant, to whom he must repeat the object of his visit. If this gentleman is satisfied, or cannot get rid of the visitor, he enters the private office of his employer, and lays the case before him. If the business of the visitor is urgent, he is admitted, otherwise an interview is denied him. If admitted, the interview is brief and to the point. There is no time lost. Matters are dispatched with a method and promptitude which astonish strangers. If the visitor attempts to draw the merchant into a conversation, or indulges in complimentary phrases, after his business is arranged, Mr. Stewart's manner instantly becomes cold and repelling, and troublesome persons are not unfrequently given a hint to leave the room. This is his working time, and he cannot afford to waste it. In social life, he is said to be a cultivated and agreeable man.

Mr. Stewart resides in a handsome brown stone mansion at the northeast corner of Fifth avenue and Thirty-fourth street. Immediately across the avenue, he has erected a residence of white marble, the handsomest and costliest dwelling in the Union, and one of the handsomest private residences in the world. It is said to have cost upwards of two millions of dollars. "The marble work, which forms the most distinguishing characteristic of this palatial abode, receives its entire shape and finish in the basement and first floor of the building. The fluted columns (purely Corinthian, and with capitals elaborately and delicately carved), which are the most striking feature of the main hall, are alone worth between three thousand five hundred and four thousand dollars each. On the right of this noble passage, as you proceed north from the side entrance, are, the reception and drawing rooms, and the breakfast and dining rooms, all with marble finish, and with open doors, affording space for as splendid a promenade or ball as could be furnished probably by any private residence in Europe. To the left of the grand hall are the marble staircase and the picture-gallery--the latter about seventy-two by thirty-six feet, lofty and elegant, and singularly well designed. The sleeping apartments above are executed upon a scale equally luxurious and regardless of expense. Externally, the building must ever remain a monument of the splendor which, as far as opulence is concerned, places some of our merchants on a footing almost with royalty itself, and a glance at the interior will be a privilege eagerly sought by the visiting stranger."

Mr. Stewart is not generally regarded as a liberal man in the metropolis, probably because he refuses to give indiscriminately to those who ask his assistance. Yet he has made munificent donations to objects which have enlisted his sympathy, and has on hand now several schemes for bettering the condition of the working classes, which will continue to exert a beneficent influence upon them long after he has passed away. His friends--and he has many--speak of him as a very kind and liberal man, and seem much attached to him.

Mr. Stewart is now seventy years old, but looks twenty years younger. He is of the medium height, has light brown hair and beard, which are closely trimmed. His features are sharp, well cut, his eye bright, and his general expression calm, thoughtful, and self-reliant. His manner is courteous to all, but reserved and cold except to his intimate friends. He dresses quietly in the style of the day, his habits are simple, and he shuns publicity.

XXXV. PLACES OF AMUSEMENT.

I. THE THEATRES.

There are sixteen theatres in New York usually in full operation. Taking them in their order of location from south to north, they are the Stadt, the Bowery, Niblo's, Theatre Comique, the Olympic, Lina Edwin's, the Globe, Wallack's, Union Square, the Academy of Music, the Fourteenth Street, Booth's, the Grand Opera House, the Fifth Avenue, the St. James, and Wood's.

They are open throughout the fall and winter season, are well patronized, and with one or two exceptions are successful in a pecuniary sense. There are usually from 50,000 to 100,000 strangers in the city, and the majority of these find the evenings dull without some amusement to enliven them. Many of them are persons who come for pleasure, and who regard the theatres as one of the most enjoyable of all the sights of the city; but a very large portion are merchants, who are wearied with buying stock, and who really need some pleasant relaxation after the fatigues of the day. To these must be added a large class of citizens who are fond of the drama, and who patronize the theatres liberally. All these, it is stated, expend upon the various amusements of the place about $30,000 per night; and of this sum the larger part goes into the treasury of the theatres. The sum annually expended on amusements is said to be from $7,000,000 to $8,000,000.

The New York theatres richly deserve the liberal patronage they enjoy. In no other city are such establishments as elegant and commodious, and nowhere else in America are the companies as proficient in their art, or the plays as admirably put upon the stage.

[Picture: BOOTH'S THEATRE.]

The most beautiful theatre in the city is _Booth's_, at the southeast corner of the Sixth avenue and Twenty-third street. It was begun in the summer of 1867, and opened to the public in January, 1869. It is in the Renaissance style of architecture, and stands seventy feet high from the sidewalk to the main cornice, crowning which is a Mansard roof of twenty-four feet. "The theatre proper fronts one hundred and forty-nine feet on Twenty-third street, and is divided into three parts, so combined as to form an almost perfect whole, with arched entrances at either extremity on the side, for the admission of the public, and on the other for another entrance, and the use of actors and those employed in the house. There are three doors on the frontage, devised for securing the most rapid egress of a crowded audience in case of fire, and, in connection with other facilities, said to permit the building to be vacated in five minutes. On either side of these main entrances are broad and lofty windows; and above them, forming a part of the second story, are niches for statues surrounded by coupled columns resting on finely sculptured pedestals. The central or main niche is flanked on either side by quaintly contrived blank windows; and between the columns, at the depth of the recesses, are simple pilasters sustaining the elliptic arches, which serve to top and span the niches, the latter to be occupied by statues of the great creators and interpreters of the drama in every age and country. The finest Concord granite, from the best quarries in New Hampshire, is the material used in the entire facade, as well as in the Sixth avenue side. The glittering granite mass, exquisitely poised, adorned with rich and appropriate carving, statuary, columns, pilasters, and arches, and capped by the springing French roof, fringed with its shapely balustrades, offers an imposing and majestic aspect, and forms one of the architectural jewels of the city."

In its internal arrangements the theatre is in keeping with its external magnificence. Entering through a sumptuous vestibule, the visitor passes into the magnificent auditorium, which is, in itself, a rare specimen of decorative art. The seats are admirably arranged, each one commanding a view of the stage. They are luxuriously upholstered, and harmonize with the rich carpets which cover the floor. Three elegant light galleries rise above the parquet. The walls and ceiling are exquisitely frescoed, and ornamented with bas reliefs in plaster. The proscenium is beautifully carved and frescoed, and is adorned with busts of the elder Booth and the proprietor of the theatre; and in the sides before the curtain are arranged six sumptuous private boxes. The curtain is an exquisite landscape. The decoration of the house is not done in the rough scenic style so common in the theatres of the country, but is the perfection of frescoe painting, and will bear the closest inspection. It is impossible, even with a strong glass, to distinguish between some of the frescoes and the bas reliefs. The stage is very large, and rises gradually from the footlights to the rear. The orchestra pen is sunk below the level of the stage, so that the heads of the musicians do not interfere with the view of the audience. The dressing of the stage is novel. The side scenes, or wings, instead of being placed at right angles to the audience, as in most theatres, are so arranged that the scene appears to extend to the right and left as well as to the rear. In this way the spectator is saved the annoyance of often looking through the wings, a defect which in most theatres completely dispels the illusion of the play. The scenery here is not set by hand, but is moved by machinery, by means of immense hydraulic rams beneath the stage, and the changes are made with such regularity and precision that they have very much the effect of "dissolving views." The scenes themselves are the work of gifted and highly educated artists, and never degenerate into the rough daubs with which most playgoers are familiar. The building is fireproof, and is warmed and ventilated by machinery. The great central chandelier and the jets around the cornice of the auditorium are lighted by electricity.

The plays presented here are superbly put on the stage. The scenery is strictly accurate when meant to represent some historic locality, and is the finest to be found in America. Perhaps the grandest stage picture ever given to an audience was the graveyard scene in "Hamlet," which drama, in the winter of 1869-70, "held the boards" for over one hundred nights. The dresses, the equipments, and general "make up" of the actors are in keeping with the scenery. Even the minutest detail is carefully attended to. Nothing is so unimportant as to be overlooked in this establishment.

With a few exceptions, the company is unworthy of the place and the fame of the proprietor. Mr. Booth, himself, is the great attraction. It is his custom to open the season with engagements of other distinguished "stars," and to follow them himself about the beginning of the winter, and to continue his performances until the spring, when he again gives way to others. When he is performing it is impossible to procure a seat after the rising of the curtain.

[Picture: GRAND OPERA HOUSE.]

The Grand Opera House is next to Booth's in beauty. It is much larger than that theatre. But for its unfortunate location, nearly a mile from Broadway, it would be one of the most successful establishments in the city. The theatre is divided into two buildings, one fronting on the Eighth avenue and Twenty-third street, and containing the offices and entrances, and the theatre proper, which is in the rear of the former. The former building is a magnificent structure of white marble, in the Italian style of architecture. It fronts 113 feet on Eighth avenue, and 98 feet on Twenty-third street. It is adorned with statuary and carvings, and is far too handsome for the part of the city in which it is located. The greater portion of this building is taken up with the offices of the Erie Railway Company.

The theatre proper is connected with the front building by means of a superb vestibule, into which open the doors of the auditorium. It is one of the most beautiful halls in America, and one of the pleasantest lounging places. The auditorium is finished in light blue, white, and gold, and when lighted up is magnificent. Every appointment and decoration is tasteful and beautiful, and there are many persons who consider it the finest interior in America. The stage is large and convenient, and the scenery good. The performances are passable.

The house was built by Mr. Samuel N. Pike for an Opera House. It was not successful, and was sold by him to the late Colonel James Fisk, Jr., for $1,000,000, a slight advance upon its cost.

Wallack's Theatre, at the northeast corner of Broadway and Thirteenth street, is, _par eminence_, _the theatre_ of New York. Its audiences are more exclusively composed of citizens than those of any other house. New Yorkers are proud of it, and on Thursday evenings, or the first night of some new play, the audience will consist almost entirely of city people. The theatre itself is very plain, and there are many things about it that might be bettered. In other respects it is unqualifiedly the best theatre in which the English language is spoken. It is devoted almost entirely to comedy, and the plays presented on its stage are always of a high character. The Star system is not adopted here, but the company consists of the best and most carefully trained actors and actresses to be found here or in England. It is emphatically a company of gentlemen and ladies. At present it includes Lester Wallack, the proprietor, John Brougham, Charles Mathews, John Gilbert, Charles Fisher, and J. H. Stoddart, and Mrs. Jennings, Miss Plessy Mordaunt, Miss Effie Germon, and Mrs. John Sefton. Mr. Wallack is very proud of his theatre, and with good reason. He has made it the best in the country, and a model for the best establishments in other cities. The greatest care is taken in the production of plays, and every detail is presented to the audience with a degree of perfection which other managers vainly strive to attain. The scenery is exquisite and natural, the dresses are perfect--the toilettes of the ladies being famed for their elegance, and the acting is true to nature. There is no ranting, no straining for effect here. The members of the company talk and act like men and women of the world, and faithfully "hold the mirror up to nature." It is a common saying in New York that even a mean play will be a success at Wallack's. It will be so well put on the stage, and so perfectly performed by the company, that the most critical audience will be disarmed.

The Fifth Avenue Theatre, on Twenty-fourth street, in the rear of the Fifth Avenue Hotel, is next to Wallack's in popular favor. It is very much such an establishment in the character and excellence of its performances. It possesses a first-class company of ladies and gentlemen, some of whom have achieved national reputations, and all of whom are worthy of the highest praise. The theatre itself is a handsome marble edifice, not very large, but of very attractive appearance. The interior is bright and cheerful. The ceiling is finely frescoed, the walls are panelled with large plate-glass mirrors, and the general effect is very brilliant. The building was owned by the late Col. James Fisk, Jr. The manager is Mr. Augustin Daly, a well-known writer of successful plays. To his literary gifts Mr. Daly adds a high order of managerial talent, and it is to his efforts exclusively that the very marked success of the theatre is due.

The Academy of Music is, as its name indicates, the Opera House of New York. It is a gloomy-looking structure without, but possesses a magnificent auditorium, fitted up in the style of the European Opera Houses. Its decorations are in crimson and gold, and are magnificent and tasteful. It is the largest theatre in the city, and one of the largest in the world. It is opened occasionally during the winter for operatic performances. The audiences to be seen here are always in full dress, and the toilettes of the ladies, to say nothing of the beauty of many of the fair ones, offer a great attraction to sight-seers.

Niblo's Theatre, or as it is generally called, "Niblo's Garden," is situated in the rear of the Metropolitan Hotel, with an entrance on Broadway. It is one of the largest and handsomest theatres in the city, and by far the coolest in warm weather. It is devoted principally to the spectacular drama. It was here that the famous spectacle of the Black Crook was produced. Its revival is to take place before these pages are in print, and it will probably be continued throughout the remainder of the season.

[Picture: ACADEMY OF MUSIC.]

The Olympic is a large, old-fashioned theatre, on Broadway, between Houston and Bleecker streets. It is devoted to pantomime, and is famous as the headquarters of the erratic genius who calls himself Humpty Dumpty.