Chapter 3: Showman and Life on the Bowery

(this and the other chapters are in the process of being added to and edited)


     While Jonas was running the North American Hotel, he showed the first known inclination toward show-business. He was among a group of animal menagerie owners and investors who met in Somers, New York, on 14 January 1835 to create the Zoological Institute. While their aim was presumably to organize and promote, it was generally considered to be an attempt to control and profit from all of the travelling shows with animals in the country. This they did for several years before the venture fell apart. Jonas would have been at least acquainted with most or all of the major circus and menagerie owners [and performers] after he took over the North American Hotel, the Bowery being the Times Square of its day. He undoubtedly was an investor at first, a "silent partner." In June 1839 he took a more active role. He became a partner with veteran circus owner Rufus Welch and bought the failing Bacon & Derious Circus Company while it was performing in Richmond, Virginia. They renamed it the Grand National Arena Company under the business name of Welch, Bartlett & Company. In July he joined with Welch and John Clayton to buy the New York Circus & Arena Company from Hall, Nathan, Tufts & Company.
     Clayton had brought two giraffes on the bark Prudent from Cape Town, South Africa to New York City in June 1838. He had been hired by Welch and several partners to go on expedition for them. Eleven were captured, nine died before they made it to Cape Town and one died there. They were first exhibited on tour by Clayton, then attached individually to the two circuses co-owned by Jonas. The New York Circus combined with one of Clayton's tours to become the New York Circus and Giraffe Exhibition United. It isn't known if Clayton sold the other giraffe to Welch and Bartlett or he was a silent partner.
      Shortly after the giraffes were attached to the circuses, The Youth's Companion published an article about them and one of the two venues in which they were shown. "The Giraffe, the Ibex, the Bontibok and the Gazelle are exhibited now in Boston. The proprietor intends to take them as far east as Portland - stopping at intermediate places. The Editor of the Youth's Companion has seen this interesting collection of animals and would recommend his young readers to visit them. They are not dangerous creatures but perfectly harmless and delicate - the gazelle especially is a beautiful little creature."



     The New York Circus and Giraffe Exhibition United toured from Pennsylvania to Alabama and out to Kentucky and Tennessee over the next year-and-a-half. After appearing in Christmas shows in Mobile, Alabama, they went to Havana, Cuba, early in 1841. The roster for this show was modest. Aside from the giraffe, there was a vaulter, 5 horse riders, a minstrel and an armless man. A Savannah paper reported the show:

In the first place, there is a deception practiced, in inducing people to go at seven o'clock, under the belief that the performance in the ring takes place at that time. After the audience are all comfortably seated a man comes forward and proclaims that the performance of the man without arms will now commence and those who choose to pay an additional 25 cents can see him, those who don't may wait here until he is through. Now, all those who have a horror of seeing a deformity in any shape, have a very comfortable time of it, looking into the innocent face of the giraffe while he looks into their simple faces.
The next thing we object to is the amount of labor imposed on those two poor, little boys [the two minstrels? Annal of the American Circus seems to call them apprentices]. About one-half of the performance, it seemed to us, fell to their share. This, no doubt, had its origins in the fact that they are very popular with the audience, but even the demands of the popular will should not be put in the scale with the duties of humanity. On the whole we were well enough pleased.
      The armless man was Sanders K. G. Nellis, a native of New York's Mohawk Valley. He was very agile with his legs and feet, and had been displaying his talents since he was 11, opening in Baltimore in 1828.(8) The following woodcut accompanied a later advertisement.





     Details of the show in Cuba have yet to be found, but the five equestrians were definately there. They appear together on a ship's manifest, arriving in New York City from Havana in July of 1841. Levi North, a prominent equestrian and gymnast, preceeded them in May, and Clayton, with other circus-related businessmen, made a trip from Havana to New Orleans in April. North may have been added to the roster, but he at times performed independant of larger shows. What happened to the giraffe after leaving Mobile hasn't been found, but no evidence has been found of it coming back to the United States.
     The Grand National Arena Company, the other circus co-owned by Jonas, started small, with a ringmaster, 3 riders, a clown, a vaulter, a minstrel and an acrobat (with the added attraction of the second giraffe), but after touring New England, New Jersey and Pennsylvania, they settled in Manhattan for the winter and had an elaborate cast. Added to the company were 7 riders, two of whom were women, 4 acrobats, a contortionist, 2 clowns, a vaulter, 7 minstrels, a tight-ropist, a juggler, a singer and Harvey Leach, the "man-monkey," whose stage name was "Hervio Nano." He had recently made his debut at the Bowery Theatre. The New York Herald reported the event over several days. "Signor Hervio Nano, a queer creature - according to all accounts - with a queer name" had rehearsed to the point of exhaustion the day before he was to open his act and the performance was postponed. "The astounding dwarf was engaged during the whole of yesterday in rehearsing his wonderful performance such as scaling the proscenuim and crawling acros the dome of the theater by the mere muscular force of his arms and hands and still laboring under the effects of a long and stormy voyage." The giraffe was no longer with them. She had died the previous November, while travelling in New Jersey at the end of the tour. It was speculated that it was related to the cold atmosphere, but no cause was ever made public. It was later said, and often repeated, that she fell and broke her neck, but no comtemporary evidence of this has been found. It is all the less probable given that the giraffe didn't travel on foot. Menagerie and circus wagons were widely in use by then.
     In Manhattan the Grand National Arena Company settled in a specially-constructed wood-frame building with a canvas roof. This was on a vacant lot at 509 Broadway (between Spring and Broome Streets, later the site of the St. Nicholas Hotel). At least one of the giraffes had been exhibited on that lot several years earlier. The New York Evening Post reported that "a new circus has been got up by Messrs. Welch, Bartlett & Co...The situation is a commodious one, and it is said that the interior arrangements are capacious, elegant and well-adapted to equestrian exhibitions." The next day's issue says "The performances embrace a great variety of chaste and elegant feats of horsemanship; sports of the ring; diverting and astonishing performances by the clown Rockwell, together with amusing scenes and dialogues, gymnastics, &c. The interior has been ornamented and arranged with great neatness and comfort, and the managers no doubt will be well compensated for their enterprise." This is an example of one of the advertisements for this show:
...the entertainments will commence with a grand STAR AND WALTZ ENTRY of ten horses, after which Master Oliver in an ADMIRED ACT, VAULTING EXCERSIZES - Clown Mr. Rockwell - Master Glenroy will appear on a single horse and take many SURPRISING LEAPS - Mr. Derious will appear on the ELASTIC CORD - THE SEMINOLE CHIEF by Mr. Bacon - Masters Bacon, Glenroy and Joseph will go through a number of transformations and contortions - Mr. Cadwallader on one, two, three and four horses - Mr. Jinnings as the Hindoo Juggler - Chinese pageant - Mr. J. Sanford in the Ethiopian Extravaganza [minstrel act] of Jim Along-Josey - to conclude with the Bedouin Arabs. Boxes 50 cents - Pit 25 cents.
     The Post reported again that "The beautiful amphitheatre of Messrs. Welch, Bartlett & Co., was filled to overflowing, by a highly respectable audience, at an early hour, last evening, to witness the first performance of this highly talented equestrian troupe. The riding, rope dancing, vaulting, and other gymnastic feats were most gracefully executed and received the unanimous applause of the audience. The interior of the amphitheatre is beautifully fitted up and well warmed with every other convenience that could be desired." The next day was added that "we noticed the presence last evening of some of our most highly esteemed citizens and their families." Another ad, indicating a change in the line-up, is more detailed. It includes a "Spanish Tranca," "a laughable scene on horseback entitled "Cupid in the Soot Bag," another "Ethiopian Extravaganza" called "Sich a gittin up Stairs," "The Dying Moor" and "The Clown Turned Barber." As the season progressed, the acts changed. Later you could find Mr. Rockwell doing a solo on the penny trumpet, Master Bacon on the "Polander's Ladder," "Jerry Stitchum" by Mr. Wells, and what seems to have been their crowing achievement: "a grand chivalric pageant legendary spectacle" called "St. George and the Dragon of England," with "new and splendid decorations, processions and equestrian evolutions on a most extensive scale." Mr. Cadwalader played the dragon and the great monster, Mr. Mulligan.
     This show went back out on the road as the Broadway Circus for the rest of 1840 in Massachusetts and New York. About 16 November they opened for a Winter season at the Bowery Theatre. Theatrical performances were not getting the customers they needed to stay in business with the exception of June, Angevine & Titus' menagerie and circus at the Bowery Amphitheatre. Theaters showing dramas, including the Bowery, became increasingly in danger of closing after the Fall of 1840. James Gordon Bennett, editor of The New York Herald, treated Bowery Theatre manager Thomas Hamblin with many acidic commentaries in his paper. His dislike of Hamblin reached beyond his theatrical choices into politics and attitude. An opposing position to The Herald hasn't been found. Few New York City papers gave entertainment news or even advertisements. While articles on this subject have to be regarded as biased, they are still enlightening.

THE BOWERY [Theatre] - The drama of Greysler, from Hoffman's popular novel, is an entire failure. It was played to $61 on Monday night, and there was hardly as much in last night. Hamblin is a gone coon - neither water tanks [which he had installed at a large expense] nor saltpetre will save him. We understand that he is negociating with Welsh, the proprietor of the Broadway Circus, with a view to introduce horses, and play equestrian pieces. He had better get sea horses, and put them into his water tank - that would be a novelty indeed.(10)


     When the circus opened, it had transformed into a showcase of equestrian drama. Although vaulting and gymnastics were still on the program, the features were melodramatic plays written specifically to be done in an arena with many actors on horseback, and with as many mechanical and scenic tricks as possible. These spectacles originated in England between 1810 and 1820 and were best-known from performances at the Astley Theatre in London. The Bowery would have to have been extensively remodeled to accomodate such a show, creating an arena in addition to the stage so that there would be about a three-quarter round view of the performance. Hamblin's water tank was put to good use for some of these scenes.
     Aside from a smaller-scale equestrian drama "St. George and the Dragon," the featured piece was "The Battle of Waterloo." To get an idea of the scale of the performance, 50 horses and 200 extras were employed. Following this through December were "Mazeppa" and "The Phantom Spectre," which had also been established in England. While the spectacle of them might draw people to a Broadway theater today, the writing wouldn't. An example from "Mazeppa" has one of the lead actors cry out "Prepare strong hempen lashes around the villian's loins...let scorching sun and piercing blast, devouring hunger and parching thirst, with frequent bruises and constant motion render the Tartar piece-meal!"(11)      The smaller acts in program of these shows were also meant to impress. Hamblin, the proprietor of the theater, had hired Welch and Bartlett to put on their show, and he hired others to add to the bill. He did so from the best available equestrians, gymnasts and character singers and actors. Levi James North, an American equestrian gymnast, had performed to fame and acclaim in England in 1839 and 1840. He had agreed to perform for June, Titus, Angevine & Company at the Amphitheatre when he returned to the United States. Despite a verbal contract, Hamblin apparently managed to snatch him away for more money.(12) He agreed to a limited engagement, being a free agent and undoubtedly in high demand. Edward Kendall, a very popular buglist, debuted the same night as North. Combined with the "The Battle of Waterloo," this entertainment program was one of the most impressive and perhaps the most expensive the city had ever seen.
     Despite the razzle dazzle, the theater did poorly. The Herald speculated why this and the legitimate drama houses were in danger of closing, but in hindsight, for the Bowery Theatre, it was the uniquely high prices of tickets. As manager of the theater, Hamblin set the prices, perhaps trying to recoup production costs as quickly as possible. By the end of the year it was obvious the theater would have to close. It may have been about this time that the theater's treasurer, John De Peyster Champlin, tried to commit suicide, or so Hamblin and his doctor-for-hire claimed. Hamblin apparently fired him and the doctor committed him to a mental hospital.(13) Champlin sued them both for false imprisonment.      Early in January some sort of arrangement was made that had Hamblin step aside to allow Rufus Welch, Jonas Bartlett and John Champlin to take over the theater's management. Welch, Bartlett & Company sent their horses down to Philadelphia temporarily and closed the theater for a week. When shows started again on the 11th of January, the admission price was lowered.(14) Advertisements announced the company for the first time as "The New York Circus." This was also the first time "Welch, Bartlett & Co." were named as proprietors. During their haitus and a week of relatively small productions, the company was ready to start another Napoleanic epic equestrian drama (called "Napolean"). The theater began to draw crowds and its fortunes turned. "Napolean" was followed, not surprisingly, by "The Invasion of Russia, and the Burning of Moscow," starring Napolean. "The Cataract of the Ganges" was next, ending with "El Hyder." When the season closed, the Bowery Theatre had eclipsed the Amphitheatre in popularity.(15) In the process there was a benefit given to widows and orphans of New York City firemen. The theater was opened on two occasions specially to officers and students of the naval academy in Brookyn and to children of a "deaf and dumb" institute. Ex-president Martin Van Buren attended a performance on March 23rd.



The Bowery Theatre, third building (1839-1845)


     Levi North had agreed to perform up to March 11th, when he probably left for an engagement in Cuba.(16) He was replaced by Timothy Turner, who had been in the troupe at the rival venue at the Bowery Amphitheatre. There is debate about who was the first to perform a somersault on the back of a moving horse. Turner was given the credit, having done it at the Amphitheatre during the winter season being discussed here. North, late in life, contradicted this and said he had done it in England. The only clear evidence yet found about this feat is an article in The Herald of March 13th. A Bowery Theatre notice (not their advertisement) says "T. V. Turner, the only vaulting equestrian in the United States [North likely having steamed for Havana by then], is engaged, and appears on Monday in his famous principal act - somerseting over the canvas during his horse's speed, &c." On the 18th this is referred to as "somersets on his horse's back." As a "famous" act, he had to have been performing it by then. Turner was billed in Amphitheatre ads as performing "an act of single horsemanship" in January up to the 21st. He appears again on the 25th, and featured prominently in their ad, opening the night with "a great gymnastic effort" called the "Splendid Spanish Trampoline." Later in the show he did a "celebrated act." This is new terminology, and either tricks could have been the somersault in question. He may have taken several days off to practice. If it was the "celebrated act," then he was likely performing it by then, but given the prominent billing, it was more likely introduced the night of the 25th. There is no mention in any found papers of North doing this, and it's very unlikely The Herald would have mentioned Turner doing it and leave out North if he had already been doing it in New York. If he had done it in England, why not do it in the United States? Thomas Hamlin would certainly have encouraged it. Competition between the theaters, especially during that season, must have been brutal. Hamlin grabbed North from the Amphitheatre, surely with money in hand, knowing he was fresh from a major success in England. Turner left the Amphitheatre on February 6th, likely when his contract ran out. As a free agent, the Bowery Theatre apparently offered him a lucrative incentive to join that troupe, knowing his new trick would help their ticket sales. The Amphitheatre may not have tried to keep him, but that's doubtful. They didn't have a comparable act after he left. Given that evidence, it seems Timothy Turner was the first person to somersault on the back of a moving horse, at least in the United States.
     Jonas Bartlett is barely within the scope of published history of popular entertainment. He certainly was overshadowed by Rufus Welch, whose career was the circus. Welch was more readily named in references to Welch, Bartlett & Company and the Grand National Arena, and the third partner, John Clayton, had the giraffes to bring him particular fame. Without more to go on, Jonas would seem to have been a minor light in all of this. The smashing and surely unexpected success of the Bowery Theatre by the close of the 1840-1841 winter season prompted The Herald to heap accolades on the partners. The theatres traditionally gave benefits for all involved in their productions, giving up the proceeds of a night's sales. The range was wide, from a single manager or star performer to a group benefit for the house staff. The one security man who kept the rowdies in hand was worthy of his own night. North demanded two benefits for himself in his broken Amphitheatre contract. When Jonas got his, The Herald shed some light on how significant his contributions were. Following are some abstracts:

It would be a source of injustice and ingratitude to withold...from Mr. Bartlett, the ever present, active and independent manager, that tribute to which his unremittig zeal and dispostion to consult the public feeling is entitled, conspicuously illustrated...by the profusion, excellence and variety of the most popular and attractive entertainments that ever were produced, as well as by the total disregard to that spirit of economy that has frequently frustrated the ambition of many. For nearly three months has this theatre been the receptacle of all the fashion and wealth of the city. Thousands have paid homage to those gorgeous and expensive dramas and melodramas, that every successive night, through the difficulties of the time and the vicissitudes of the winter, attracted the young and the old within the walls of the Bowery [Theatre], which still echo with their joyful acclamations. In pursuing one straight forward line of conduct, dictated by a strict adherence of honor and liberality towards all employed, whether actors, servants or tradesmen...ever watchful of the public interest - and above all, conscientiously tenacious of the morality of the establishment, they have, [even when] the reduced price of admission unlocked the doors to a promiscuous assemblage of all grades, classes and colors, redeemed the reputation of the Bowery [Theatre] from its alleged notoriety of noises, confusion and indecency...

...evidence sufficient has been established from his public and private character and more especially in his managerial occupation to justify the impression that one and all who have witnessed his personal exertions...the rational enjoyments they have derived from his hands and his unremitting attention and urbanity to his visitors and the public generally...will respond to a call...to test the public feeling."

 The perfomance that night was titled "The Forty Thieves," a la "The Arabian Nights."

All the equestrian, dramatic and operatic talent in the land has been enlisted to give full effect to the piece...Mr. Bartlett [has] done more for the advancement of the equestrian drama during the last season than has been accomplished for years previously. His benefit will be the greatest given this season. [He also] has been favored with the voluntary services of the Rivers family...Seig[nor] Threiftea, T[imothy] V. Turner, Joe Sweeney, Mr. Whittaker and a number of other celebrated performers in the circle.

The Herald reported the next day that "Mr. Bartlett... had a full house, well filled in every part" and the performances "went off with merited eclat."
     The New York Circus closed several days later, leaving Thomas Hamblin to his own devices once again as manager. The horses from the circus were perhaps leased and sent to Philadelphia to perform in a show unrelated to Jonas' or Rufus Welch's concerns. Shortly after that show closed, Jonas was joined by William A. Delavan, his Branch Hotel co-partner, in creating the Bartlett & Delavan Circus at Baltimore's American (also called Front Street) Theatre. Only their opening has been found in news notices, which happened in early May. They started to tour, but gave up in July at Richmond, where Rufus Welch and Alvah Mann bought their interests.
     Jonas retired from the circus for a while. This allowed him, hypothetically, to spend more time with his family. His 4 1/2 year old son Jonas had died only six months earlier. Being popular with the theater and circus entertainers, the Branch would have kept Jonas in close touch with the circus world. In 1845 he made a brief return to it. He partnered with John Clayton to create The New Pavillion Circus. They toured through the winter in various southern states. According to The Georgia Weekly Telegraph in Macon, Georgia,(9) the program began with a "grand entree" titled "The Court of Queen Elizabeth," led by the equestrienne Mrs. Nixon ("the late Miss Caroline Divine"). There was "ground and lofty tumbling" to come, followed by Mr. Carter singing the comic song "Unhappy Jeremiah," Master William performing "The Pride of the Arena" on horseback, plate balancing and "Spanish column" by Mr. Harvey Whitlock, "Indian" by Charles Bacon, "double leaping" on the horse by Mr. Batchelor, Mrs. Nixon and Mr. Bacon being "truant lovers" on two chargers, "posturing" by Mr. Nixon and an apprentice, Mr. Whitlock on an Arabian courser, pulling against horses by Signor Dow, Mrs. Nixon on her favorite steed Selim, a minstrel band consisting of Messrs. Carter, Batchelor and Daniels performing "The German Barber, or the Misfortunes of Col. Tilton," Tilton portrayed by Mr. Bacon and Mr. Huntington and the barber by Mr. Huntington. "The New Pavillion" lasted for one season, and with that, Jonas' career as a showman evidently ended.



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1. Stanton Smith said that they moved when their daughter Sarah was six weeks old, placing the move in July. The 1855 New York State census (Kings Co., 1st Ward, 2nd ED, dwelling #191) says that Jonas, Harriet and Sarah had been living in New York city for 21 years.
2.5 abstracted at a website: http://www.home.eznet.net/~dminor/NYNY1833.html.
3. Old Bouwery Days,
4. The New York Herald, 21 November 1837.
5.
6. The New York Herald, 24 November 1837.
7. The New York Spectator, 24 November 1837.
8. Baltimore Patriot, 16 Dec. 1828, p 4. He was at the Maryland Museum, and this was billed as his first public performance. He is sometimes erroneously called "Saunders."
9. Issue of . The circus probably performed at Washington Hall in Macon.
10. The New York Herald, 5 Aug 1840. The Bowery Theatre stage had an enormous tank of water to accomodate scenes at sea.
11. 12. The New York Herald, 17 Nov 1840.
13. Ibid, 5 Feb, and The New York Spectator, 6 Feb 1841.
14. The New York Herald, 4 Jan 1841
15. Ibid, 26 Mar 1841.
16. Ibid, 11 Mar 1841.
The New-York Mirror, 28 December 1839.
Apparently among the few who disagreed was a writer in The New-York Mirror: "While we have pen in hand, we may as well say, in these holiday times, that for the juvenile portion of the community, whether six feet high or two, and evening spent at the Broadway Circus is well worth the cost of admission."(11)

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(branch closed). NYT, 2 May 1855, p. 2.

NYC&A adv. in the Rep. Compiler, Gettysburg, 13 Aug 1839, with a separate notice of the giraffe. Hobby's circus & menagerie united also advertized and was noticed as coming into town on the 22nd ad in the Adams Sent & Daily Adv., 6 and 13 Aug both of the above had the giraffe graphic 16 Aug Hagerstown Mail adv. both the NYC & A and Hobby's. Hobby's mentions having purchased a giraffe, but this must not have been live. Margaret Lametti, widow of Joseph, 192 Chatham 1839/40 John P. Ware, clothier, bus. at 192 Chatham The Emancipator was ed. by Joseph Leavitt 23 Mar, adv one day added to the exhibit due to bad weather the previous day. Welch, Bartlett & Co., New York Circus, were at the Bowery Theatre from Nov to at least Jan, adv. in the Herald. Levi North was attached Pavillion Circus program in Macon: Grand entree, Court of Queen Elizabeth, led by Mrs. Nixon; ground and lofty tumbling; comic song "Unhappy Jeremiah" by Mr. Carter; Master William "The Pride of the Arena;" horsemanship; plate balancing and Spanish Column by Mr. Harvey Whitlock; Indian by Charles Bacon; double leaping by Mr. Batcheler; Mr. Nixon and Mr. Bacon, two chargers enact truant lovers; posturing by Mr. Nixon and pupil; Mr. Whitlock on an Arabian courser; laughable scene grand ? and her son Jonathan; pulling against horses by Signor Dow; Mrs. Nixon (late Miss Caroline Divine) on her favorite steed Selim; minstrel band Messrs Carter, Bathcheler and Daniel; German barber or the Mistfortunes of Col. Tilton, Col. Tilton - Mr. Bacon, Barber - Mr. Huntington. Levi North re-engaged for more performances, 1st ad 12 1 40 12 28, B Theatre 75c boxes, Amphi was 50 1st ad for phantom monarch was 12 26 1st ad for NYC at Bowery Theatre, in Herald 11 9, long ads 9th and 10th, then reduced Levi NOrth benefit 1 27, doesn't appear in an ad for 1 28, Turner still at Amphi North reappears in ads on feb 1st Monsieur Le Tort is with Amphi on feb 9th last ad with turner at amphi is feb 6th, no Le Tort in ads, first ad with Amphi is 8th last ad with north is Mar 13th, Turner appears in ad of 15th Rockwell and Miss Wells switched companies by feb 15th "Battle of Waterloo" started on 11 15, Mazeppa started on the 7th, Spector Monarch Levi North "artiste" arrived in NY on Hibernia on 13 nov 1840 first ad Bowery Theatre engagement 11 24, "second appearance" Turner was a scheduled performer for JTA JTA opening night 11 18, ads including north appeared up to the 18th. Turner benefit at amphi 1 25, first ad for "trampoline" not in amphi ad of 1 22, 23 NY Herald 9 21 1840 BRANCH HOTEL - No. 36 BOWERY FORMERLY kept by Captain Samuel Seely, having passed in to the hands of Messrs. J. BARTLETT and W. A. DELAVAN, is now opened on a scale not to be surpassed by any other establishment in this city. Their accommodations are of the first rate order, having been fitted up entirely new, and ready for the reception of gentlemen, who wish to partake of good lodgings, &c. Every attention will be paid for the comfort of all who may wish to patronize them. Their bar is stored with the choicest of liquors of brands of all kinds, with all the delicacies that persons may require to refresh themselves with. JONAS BARTLETT W. A. DELAVAN 10 25 1841 BARTLETT'S BRANCH HOTEL AND REFECTORY, 36 Bowery - The Bowery may now boast of an establishment in point of elegance, comfort and taste, superior to any yet presented to the public in that section of the city. Mr. Jonas Bartlett, at 36, has added to his already well established and popular place of resort, a refectory, which has been satisfactorily tested within the last few days since its opening, by numbers, upon whom this long wished for and elegantly arranged accession to the citizen's comfort, burst with grand and unexpected brilliancy. In point of interior elegance it has no competitor. While the choice selection of all that contributes to the appetites, is served in a style of unequalled taste. A visit to the Saloon, where, independent of the usual atractions, the only perfect copy of the magnificent French plates, of the removal on board the Belle Poule of the remains of Napolean from St. Helena to Paris, and the procession to the Church of Invalids, may be seen, well deserving the study of the artist, the historian and the politician, is in itself a rational source of enjoyment; the officer, crew and ships being now in this port, attach to these exquisite paintings, regularly arranged, a peculiar fascination. Mr. Bartlett's spirited enterprise justly entitles him to a continuation of that patronage that he has successfully enjoyed, and no doubt his porsperity will be commensurate with his merits.