American Adventures | Page 8

of discretion, let alone that it is one hundred and forty-five years old, or so. It is this difference between the horse dealer and the dealer in antiques which keeps us in the dark to-day as to exactly which horses Washington rode and which he didn't ride; although we know every chair he ever sat in, and every bed he ever slept in, and every house he ever stopped in, and how he is said to have caught his death of cold.
Having thus wandered afield, let me now resume my nocturnal walk.
Proceeding down Howard Street to Franklin, I judged by the signs I saw about me--the conglomerate assortment of theaters, hotels, rathskellers, bars, and brilliantly lighted drug stores--that here was the center of the city's nighttime life.
Not far from this corner is the Academy, a very spacious and somewhat ancient theater, and although the hour was late, into the Academy I went with a ticket for standing room.
Arriving during an intermission, I had a good view of the auditorium. It is reminiscent, in its interior "decoration," of the recently torn-down Wallack's Theater in New York. The balcony is supported, after the old fashion, by posts, and there are boxes the tops of which are draped with tasseled curtains. It is the kind of theater which suggests traditions, dust, and the possibility of fire and panic.
After looking about me for a time, I drew from my pocket a pamphlet which I had picked up in the hotel, and began to gather information about the "Monumental City," as Baltimore sometimes calls itself--thereby misusing the word, since "monumental" means, in one sense, "enduring," and in another "pertaining to or serving as a monument": neither of which ideas it is intended, in this instance, to convey. What Baltimore intends to indicate is, not that it pertains to monuments, but that monuments pertain to it: that it is a city in which many monuments have been erected--as is indeed the pleasing fact. My pamphlet informed me that the first monument to Columbus and the first to George Washington were here put up, and that among the city's other monuments was one to Francis Scott Key. I had quite forgotten that it was at Baltimore that Key wrote the words of "The Star-Spangled Banner," and, as others may have done the same, it may be well here to recall the details.
In 1814, after the British had burned a number of Government buildings in Washington, including "the President's palace" (as one of their officers expressed it), they moved on Baltimore, making an attack by land at North Point and a naval attack at Fort McHenry on Whetstone Point in the estuary of the Patapsco River--here practically an arm of Chesapeake Bay. Both attacks were repulsed. Having gone on the United States cartel ship Minden (used by the government in negotiating exchanges of prisoners) to intercede for his friend, Dr. William Beanes, of Upper Marlborough, Maryland, who was held captive on a British vessel, Key witnessed the bombardment of Fort McHenry from the deck of the Minden, and when he perceived "by the dawn's early light" that the flag still flew over the fort, he was moved to write his famous poem. Later it was printed and set to music; it was first sung in a restaurant near the old Holliday Street Theater, but neither the restaurant nor the theater exists to-day. It is sometimes stated that Key was himself a prisoner, during the bombardment, on a British warship. That is a mistake.
By a curious coincidence, only a few minutes after my pamphlet had reminded me of the origin of "The Star-Spangled Banner" here in Baltimore, I heard the air played under circumstances very different from any which could have been anticipated by the author of the poem, or the composer who set it to music.
The entertainment at the Academy that night was supplied by an elaborate "show" of the burlesque variety known as "The Follies," and it so happened that in the course of this hodgepodge of color, comedy, scenery, song, and female anatomy, there was presented a "number" in which actors, garbed and frescoed with intent to resemble rulers of various lands, marched successively to the front of the stage, preceded in each instance by a small but carefully selected guard wearing the full-dress-uniform of Broadway Amazons. This uniform consists principally of tights and high-heeled slippers, the different nations being indicated, usually, by means of color combinations and various types of soldiers' hats. No arms are presented save those provided by nature.
The King of Italy, the Emperor of Austria, the Czar, the Mikado, the British Monarch, the President of France, the King of the Belgians, the Kaiser (for the United States had not then entered the war), and, I think, some others, put in an appearance,