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Ceremonies at the Unveiling of a Copy of 
 
 THE COLLEONI 
 EQUESTRIAN STATUE 
 
 By VERROCCHIO 
 Executed hS J. MAS5EY RHIND, Sculptor 
 
 Presented to tKe Citp of Newark, Nev7 Jersey), by 
 
 CHRISTIAN W. FEIGENSPAN, ESQUIRE 
 
 on the occasion of tKe Two Hundred and Fiftieth Anniversary 
 of the Founding of the Citj) 
 
 Under tKe auspices of tKe Committee of One Hundred 
 FRANKUN MURPHY, Chairman, presiding 
 
 CLINTON PARK, NEWARK 
 
 Wednesday? afternoon, July twentj-sixth, nineteen sixteen 
 
 at four o'clock 
 
 PROGRAM 
 
 1. Festival March from "The Masque of Newark" Henry Hadley 
 
 2. Invocation ..Rev. E. A. Wasson, Ph.D. 
 
 3. Soprano Solo — "Roberto, O tu che Adoro" 
 
 from "Roberto II Diavolo" Meyerbeer 
 
 inez allen potter 
 
 4. Introductory Remarks Franklin Murphy 
 
 CHAIRMAN COMMITTEE OF ONE HUNDRED 
 
 5. Address and Presentation Justice Francis J. Swayze 
 
 6. Unveiling Mrs. Christian W. Feigenspan 
 
 7. Address of Acceptance 
 
 His Honor, Mayor Thomas L. Raymond 
 
 8. Walther's Prize Song from "Die Meistersinger" Wagner 
 
 9. "Stars and Stripes Forever" Sousa 
 
 Muiical Program under the direction of MR. THORNTOff ff. ALLEN 
 

 INVOCATION BY REV. E. A. WA5SON 
 
 Heavenly Father, we thank Thee that Thou hast put it into 
 the heart of a member of this community to bestow this work 
 of beauty on our city. May it stand for generations and ages 
 as a joy and an inspiration to our people, as well as to the 
 stranger that sojourns among us or passes through. May it 
 also prompt others to give of their means for the beautifying 
 and ennobling of the city, which safeguards and enhances us all. 
 
 Yet suffer us not to rest in any outward grace of form and 
 feature, but lead us to the better beauty within, of mind and 
 heart, which alone can make a people truly great. 
 
 We thank Thee for the donor of this statue; for this occasion, 
 and all who contribute to it; for our city; for its good days 
 that are past, and for the better ones to come. 
 
 And to Thee be the praise. Amen. 
 
 ADDRESS OF FRANKLIN MURPHY 
 
 CKairman, Committee of One Hundred 
 
 E are met this afternoon to dedicate to the 
 use and enjoyment of the people of Newark 
 an exact copy by a famous sculptor of the 
 greatest equestrian statue in the world. Its 
 commanding beauty will adorn the city for many 
 generations and the resolute face of the great soldier 
 will inspire afresh those failing hopes that sometimes 
 beset us all. 
 
 Colleoni lived five hundred years ago when the con- 
 ditions of national and civic life were different from 
 those of the present day. It was the time for the soldier 
 of fortune. It was the day of the highwayman and the 
 brigand. In Italy it was the day of the Condottieri, the 
 leaders of military companies who for hire served the 
 cause of the cities or states that employed them. War 
 was a trade. The leaders made their own terms and 
 gathered their followers as best they could. They cared 
 nothing for the cause for which they fought and were 
 ready to change sides for sufficient inducement. All 
 this seems impossible to us in these days when the 
 world is engaged in the greatest of all wars and when 
 
^ 
 
 ^ the spirit of patriotism is sufficient to cause men to 
 make any sacrifice and to take any risk. 
 
 Colleoni was a condottiere, following in his father's 
 footsteps. Serving first Venice, then Milan and then 
 \(. Venice again until his death, although when Venice was 
 V at peace he would make war on his own account, either 
 to keep his hand in or to improve his private fortune. 
 He fought because he loved to fight. He was a kind of 
 glorified brigand, and yet in a way he was something 
 of a Napoleon. 
 
 Before he rose to supreme command he was the life 
 and spirit of his army, and when he was finally made 
 Captain-General of the Republic of Venice, Venice was 
 secure from all her enemies as long as he lived. 
 
 He was a man of great ability and in another age 
 would have had greater renown. 
 
 But it is not because we care very much about Col- 
 leoni himself that we are here this afternoon. It is 
 rather because he was the inspiration of one of the 
 greatest works of art in the world. I doubt if we would 
 have known much more about Colleoni than about the 
 other great soldiers of his time if his fame had not been 
 made secure by the immortal statue to which every 
 visitor to Venice makes pilgrimage. 
 
 And this priceless treasure it will be the inspiring 
 privilege of the people of Newark to enjoy. Justice 
 Swayze will, I hope, tell us how the possession of this 
 beautiful gift tends to elevate the thought of a com- 
 munity. 
 
 It only remains for me to thank the giver on behalf 
 of the people of the City of Newark. His modesty has 
 prevented our assigning him an important place on the 
 program of the day. He has even insisted that his 
 name should not be mentioned. But I should be de- 
 prived of a pleasure and should fail in my duty if I did 
 not say that, not for his munificence alone but for that 
 willingness to serve his city in every fine way, Newark 
 feels proud of the fact that Christian W. Feigenspan is 
 one of her honored citizens. 
 
ADDRESS BY JUSTICE FRANCIS J. SWAYZE 
 
 |R. FEIGENSPAN'S most generous gift is 
 likely to be the most enduring memorial of 
 our celebration. Most of the buildings we 
 see will give way to others before two hun- 
 dred and fifty years have passed, as the visible signs of 
 the settlers of the town have disappeared. This bronze 
 will outlast them all. 
 
 The statue, a copy of which we dedicate today, has 
 kept alive for nearly five hundred years and will keep 
 alive for five hundred years longer the name of a soldier 
 who served, as his interest dictated, now the City of 
 Milan and now the City of Venice, and who died seven- 
 teen years before the long vigil of Columbus was ended 
 by the sight of San Salvador rising above the western 
 horizon. You will search the ordinary books of history 
 in vain for an account of Colleoni. Even the great 
 Biographic Universelle gives him but a few lines. The 
 military expert of today would look with pitying con- 
 tempt upon the gun carriages and the field artillery 
 which enabled him to give Venice the advantage over 
 her foes, as submarines and Zeppelins and aeroplanes, 
 seventy-two centimeter guns and super-dreadnoughts, 
 give an advantage today. 
 
 Few travelers visit his native town of Bergamo where 
 he lies buried, but the thousands who throng to Venice, 
 and visit the tombs of the Doges in the Church of Saint 
 John and Paul, look with amazement and delight on 
 the statue in front of the church where horse and rider, 
 in bronze, seem to live as they lived five hundred 
 years ago. 
 
 The government Colleoni served went down, after 
 various vicissitudes, in revolution; the French tricolor 
 floated in the piazza of St. Mark, where no foreign 
 standard had been seen for fifteen hundred years; the 
 bronze horses brought by Venetian conquerors from 
 Constantinople were carried to Paris, there to remain 
 until the Peace of Vienna caused their restoration; but 
 
the statue of Colleoni still stood in the little piazza. It 
 saw the downfall of the Venetian Republic after more 
 than a thousand years of freedom; it saw a greater 
 change in government, a change which would have 
 seemed incredible and unintelligible to the mediaeval 
 soldier of fortune. The wars of Italian cities with one 
 another have long since ceased; the chains which pro- 
 tected the City of Pisa against the attacks of Genoese 
 ships have been returned, and hang in the Campo Santo 
 as a symbol of the good will of former enemies; and in 
 our own day Italians throughout the famous peninsula 
 have demonstrated the falsity of Napoleon's sneer that 
 the Italian people are unfitted for liberty and inde- 
 pendence, by achievements worthy of the most heroic 
 days of the past, which have formed a United Italy 
 under the statesmanlike and fortunate leadership of 
 the House of Savoy. 
 
 Enduring as bronze is, it too like all the works of 
 men is fleeting. Statues with which a rich and culti- 
 vated society had decorated Italy and Greece were 
 melted in the dark ages, except where they were buried 
 beneath the ashes and lava at Pompeii and Hercu- 
 laneum. They furnished a readier source of supply of 
 a needed metal than the laborious processes of mining 
 and smelting. Their memory and their influence sur- 
 vives, and so the memory and the influence of this gift 
 may outlast the bronze itself. 
 
 We have already had gifts from generous citizens. 
 We are destined to have more. We already have 
 bronze statues, some of high artistic merit, but all have 
 either some local or some national significance. Today 
 for the first time, we dedicate a work of art whose only 
 significance is artistic. It is a long step forward in the 
 beautifying of our town. We have no interest in the 
 Italian mercenary soldier of the late Renaissance. Most 
 of us never heard his name until within a few weeks, 
 and would not have heard it now but for Mr. Feigen- 
 span's gift. We do not know the names of his victories. 
 The cause for which he fought long ago ceased to be of 
 
present interest. "Dead the warrior, dead his glory, 
 dead the cause for which he died." It is art that has 
 prolonged his fame and made it known in a land he 
 never heard of and aroused the interest of men of a 
 different race and tongue. Newark has long since 
 passed the time when its citizens were interested only 
 in the accumulation of wealth. We have reached the 
 time when we can afford to dwell on subjects apart 
 from our daily toil. It is artistic and intellectual 
 triumphs that distinguish a higher civilization, and 
 endure the longest. Venice and Milan and Genoa are 
 no longer the great marts through which flows the com- 
 merce between East and West. Florence long since 
 ceased to be the banking centre of the world. Italian 
 supremacy in commerce has gone forever, but travelers 
 from regions unknown at the time of CoUeoni's death, 
 still throng to Venice, attracted not merely by the marvel 
 of palaces rising directly from the waves of the sea, 
 but by Titian's pictures of the Assumption of the Virgin 
 and the Presentation in the Temple, by Tintoretto's 
 frescoes, by John Bellini's madonnas, by the Cathedral 
 of St. Mark and by the statue of Colleoni; as they go to 
 Florence to see Giotto's tower, Michel Angelo's Moses, 
 Raphael's pictures, and the Medicean Venus; as they 
 go to Rome to gaze in wonder on St. Peter's, the picture 
 of the Transfiguration, the crowded wonders of the 
 Vatican. The ancient triumphs of the arts, or archi- 
 tecture, of painting and of sculpture, make Italian cities 
 famous beyond modern cities of greater commercial or 
 industrial or political importance. But we should fall 
 short if we thought only of the fame that attracts 
 strangers. The sight of noble works of art influences 
 for the better the character of every man. Everyone is 
 more careful of his conduct, and doubtless of his 
 thoughts, in splendid than in mean surroundings. I 
 have seen two ragged little boys eight or ten years old 
 looking at the wonderful pictures in St. Peter's, the 
 younger listening with rapt attention as the elder told 
 him the story, both behaving with the propriety that 
 
the place demanded. Every one of us has the feeling 
 of beauty; every one of us adorns his home as best he 
 can afford, and is the better for it. So must it be with 
 a city. The more beautiful its buildings, the better and 
 more numerous its works of art, the more its citizens 
 will respect it and respect themselves and when these 
 are allowed to fall into decay, the downfall of the city 
 cannot be distant. 
 
 This statue is significant because it adds to the beauty 
 of our city, makes it more famous, attracts strangers, 
 and educates and ennobles ourselves. It has also 
 another significance. It unites in thought the young, 
 the vigorous, the rich, and the growing Republic of the 
 West and the glorious memory of a republic that lasted 
 thirteen hundred years, from the Roman Empire to the 
 French Revolution, and with a great nation of which 
 the Venetian territory is only a part, and a race that has 
 played a leading part in the formation of our modern 
 civilization. We Americans praise ourselves until we 
 are in danger of forgetting that great things have been 
 done elsewhere on earth. I yield to no one in my ad- 
 miration for the material progress of the United States 
 which in little more than a century has developed our 
 great domain of three million square miles. I yield to 
 no one my admiration of the inventive skill and energy 
 and commercial daring which have made us one of the 
 wealthy nations of the world, and may, if we only 
 choose, make us one of the influential. I yield to no 
 one in admiration of the political genius and good sense 
 of my fellow citizens which has formed here a feder- 
 ation of forty-eight sovereign states and shown the 
 world how peace may be secured by justice, and when 
 war should be made for a great cause, but the most en- 
 thusiastic American must admit that we have not yet 
 excelled in literature, in poetry, in music and in art. 
 We have been engaged in the struggle for a living. We 
 are only beginning to take an interest in those phases 
 of human activity that characterize an advanced civil- 
 ization. If we are to be counted among the great 
 
nations, we must first realize our shortcomings, and 
 avoid self complacent boasting and foolish pride. We 
 can improve only if we cease to boast where we excel 
 others and think wherein they excel us. By common 
 consent Italy has excelled in literature, in poetry, in 
 music, in architecture, in painting, in sculpture. She 
 has been apostrophized by one Englishman as a land 
 dear to freedom and by another as "the light of the 
 world enkindled when Greece grew dim." No one 
 would deny that many of the supreme names of the 
 past in art and literature and science are Italian, and 
 in these days of electricity the names of our own great 
 inventors find worthy rivals in the great Italians whose 
 names are now familiar terms, Galvani, Volta, Marconi. 
 I am inclined to claim the first place for the United 
 States in matters of political development, but I am by 
 no means sure that the achievement of Franklin and 
 Washington, Hamilton and Marshall, in welding to- 
 gether into one nation, discordant states, does not find 
 its parallel in the bold and courageous work of Cavour 
 and Victor Emanuel by which Piedmont and the little 
 kingdom of Sardinia became in a few years the great 
 kingdom of Italy. 
 
 May Mr. Feigenspan's gift make us think better of 
 our city and care more for it; may it stand as a con- 
 stant reminder of the great things that we owe to Italy 
 and inspire us with a feeling of noble rivalry as long 
 as this bronze shall endure. 
 
 10 
 
^ADDRESS BY MAYOR THOS. L. RAYMOND 
 
 JHROUGH the generosity and fine public spirit 
 of one of our citizens we Newarkers can now 
 say that we have here, adorning our city, 
 where all may see it and rejoice in it and 
 
 KGv^^^^ 
 
 1 
 
 share its beauty, one of the most beautiful objects of 
 art in the world. The day of its unveiling is a day full 
 of promise for Newark. 
 
 The beauty of this monument needs no words; there 
 it stands; it speaks directly to us all its clear and con- 
 vincing message. The greatest critics have described 
 it, praised it and given it its place among the works of 
 art of all time. Ruskin has said that it is the most 
 beautiful equestrian statue in the world. His judgment 
 has been sustained by what Matthew Arnold calls "the 
 finelj'^ touched and gifted men" of four centuries. To 
 it through these centuries untold pilgrimages have been 
 made to Venice by the lovers of the beautiful. 
 
 To a degree impossible in the fine arts of architecture 
 and painting, sculpture lends itself to exact repro- 
 duction. By the means of casting we have here in 
 Newark exactly the splendid statue which has aston- 
 ished and delighted the world all these years in Venice. 
 This is due to the self-effacing labor of our great 
 American sculptor, Mr. J. Massey Rhind, whose own 
 brilliant work, the equestrian statue of Washington, 
 now adorns one of our parks. Yet, while Mr. Rhind 
 might exactly reproduce the statute, it is to his own 
 taste, discrimination and art that we owe the superb 
 pedestal in which he has given us the spirit and feeling 
 of the original. There was but one thing he could not 
 do. Time alone can throw upon our statue the glow 
 and richness which four centuries of sunshine, wind 
 and rain have cast upon the original. 
 
 With this monument before us we cannot fail to turn 
 our minds toward the city, the race, the land, the cen- 
 tury which inspired it; we must think a moment of 
 
 11 
 
the man represented, of the times in which he lived, of 
 what he stood for in his time. 
 
 The Venetians were hard, calculating, money-getting 
 business people, and among the greateest traders the 
 world has ever known. Their rise to power and domin- 
 ion fills pages as marvellous as any in history. The sea 
 was their medium and they built their city in the sea — 
 and yet that city grew to be the most fairylike of all 
 cities; the richest in tone and color, the most delicate 
 in dainty loveliness, and through the marriage of the 
 mystery of the East with the force of the West, the 
 strange blending of the art of Byzantium, of Rome, 
 and of the Goth, a wonder city of exotic charm. 
 
 In the middle of the fifteenth century, at the height 
 and finest flowering of the Italian Renaissance, this 
 Republic of Venice hired Bartolomeo Colleoni to fight 
 its land wars — as all other states hired their troops and 
 military leaders. Such condottieri were seldom men 
 who would satisfy the code of the moral preacher of 
 today. They fought for a prize, they served the highest 
 bidder, they deserted when better terms were offered, 
 they turned traitor at will. Such were the habits of the 
 times and Colleoni was of the times, and he lived his 
 life vitally and vividly until 1475, his seventy-fifth year, 
 when he died. 
 
 But hear what John Addington Symonds, the great 
 historian in English of the Italian Renaissance, says of 
 him : "While immersed in the dreary record of crimes, 
 treasons, cruelties and base ambitions, which constitute 
 the bulk of fifteenth century Italian history, it is re- 
 freshing to meet with a character so frank and manly, 
 so simply pious and comparatively free from stain, as 
 Colleoni." He was of his times and we must judge him 
 by his time as we demand to be judged by our times by 
 a critical posterity. We modern Americans can not 
 hope to go into the court of posterity with clean hands. 
 What will the judgment be of our treatment of so-called 
 criminals and the horrors of our penal system? What 
 will be said of the inhumane conditions under which 
 
 12 
 
our poor live in our greatest and richest of cities? Shall 
 we be able to justify the great mortality among young 
 children, the spread of tuberculosis, our ignorance and 
 stupidity in dealing with poverty and paupers, the 
 general waste and inefhciency of our local govern- 
 ments? There is a general movement toward improve- 
 ment; but this only opens our eyes the wider to our 
 failures. We cry that we must be judged by our times, 
 and so must Colleoni be judged by his, and he stands 
 out in bright splendour as a man better than his times. 
 The man who stands out from his time for wisdom or 
 goodness or human liberty is a great man. He is a force 
 which has helped to make the world a better place to 
 live in, a bright star which sets not nor dims for the 
 generations which come after him. Such was the man 
 whose portrait in bronze we have here before us. 
 
 This statue was the work of two men, Verrocchio, of 
 Florence, and Leopardi, of Venice, and critics have 
 difficulty in attributing to each his j ust share. Verrocchio 
 died before the work was completed and left his de- 
 signs and plaster casts. The Venetian Republic em- 
 ployed Leopardi, one of her own citizens, to complete 
 it. The weight of critical opinion gives the chief credit 
 for the work to Leopardi, the well known characteris- 
 tics of Verrocchio's style having disappeared from the 
 completed statue. Venice's own son, not the outsider 
 first chosen, made for Venice one of the greatest mas- 
 terpieces of sculpture. The beauty of this bronze is 
 undying. Generation after generation of young New- 
 arkers will see it, will feel its beauty and its inspiration, 
 and who knows, is the vision too fanciful, may not some 
 young Newarker create its rival some day? How I 
 long for the day when we shall have here schools of 
 art, fully equipped, where our young lovers of the fine 
 arts may have a start in sculpture or painting or music 
 or the drama. These are the finer things of life which 
 lift up the heart of a city and enrich its soul. May this 
 monument remind our wealthy citizens of the possi- 
 bilities of generosity; may the example of this generous 
 donor find its followers ! 
 
 13 
 
If we look back to those great commercial cities of 
 the Italian Renaissance we shall find that in the time of 
 Colleoni their wealthy citizens were filling them with 
 treasures of art which make today a pilgrimage to them 
 real and necessary for the man who cares for beauty; 
 and these cities of Italy, Venice, Florence, Pisa, Siena, 
 Perugia, were cities of commerce and industry, their 
 citizens were merchants and craftsmen, they were 
 profit-loving as we are here in Newark. The soul of 
 our city has been passed down to us a rather material- 
 istic soul; civic pride has not found much room for 
 growth in it. We have prided ourselves upon our in- 
 dustry, our labor, our commerce, our wealth, our ma- 
 terial and temporal blessings. 
 
 We need all this, we need our smokestacks as em- 
 blems of our burning, vital life of energy and industry. 
 We need to encourage the spirit of commerce and 
 manufacture which has given us our title to greatness, 
 but all this does not lessen our need of beauty and the 
 finer things. There is no reason why we should not 
 lighten up our profit-making industry with a richer and 
 more spiritual view of life which shall throw a glow of 
 beauty around all we do. 
 
 This spirit of which I speak was radiant in all those 
 old Italian cities. Profit-loving and practical-minded 
 as they also were, and while they pursued industry and 
 commerce with an energy with which few cities have, 
 they were enriching themselves with a culture as fine 
 as any the world has seen, and the soul of this culture 
 has not perished through all the days of decadence, 
 tragedy and adversity which have followed the glorious 
 Renaissance and from the effect of which these cities 
 are only now recovering, under the beneficent and en- 
 lightening influences of the Risorgimento. 
 
 It is with the greatest pleasure and in the faith that 
 a landmark has been set in our city's life and growth 
 that I, representing all her citizens, accept this precious 
 gift and tender the thanks of the city to her generous 
 son who has made her so much richer than she was. 
 
 (*Owing to Mayor Raymond's absence on account of illness, his address was read 
 by the Hon. Spaulding Frazer.) 
 
 14 
 
CHRISTIAN W. FEIGENSPAN 
 
 747 Broad Street 
 newark, new jersey 
 
 July 26, 1916. 
 To the Mayor and Common Council of the City of Newark: 
 
 Gentlemen — I hereby formally present to the City of Newark the 
 statue of Bartolomeo Colleoni now erected in Clinton Park, the same 
 being a reproduction of the Colleoni statue in Venice, Italy, erected dur- 
 ing the latter part of the Fifteenth Century by Andrea del Verrocchio and 
 AUesandro Leopardi, sculptors. The reproduction has been made by 
 J. Massey Rhind, sculptor, of New York. 
 
 Very truly yours, 
 
 CHRISTIAN W. FEIGENSPAN. 
 
 The original statue was erected in the City of Venice, Italy, in 1493, 
 one year after the discovery of America. This copy is an exact repro- 
 duction in size and material of that which Andrea Verrocchio, the 
 famous Florentine sculptor, conceived. Verrocchio died before his great 
 work was completed ; but directed that his pupil, Lorenzo di Credi, should 
 cast the bronze and erect the statue. The Venetians, however, determined 
 that one of their own citizens should have the honor, and to that end 
 summoned AUesandro Leopardi, who had made the sockets for the 
 flagstaffs on the Piazza of San Marco. Leopardi had theretofore been 
 expelled from Venice as a forger. He cast the statue in bronze and built 
 the massive pedestal, but had the effrontery to place his name, not only 
 upon the base, but also upon the saddle girth of the horse. To the 
 uninformed, Leopardi, therefore, appears as the author of the entire work. 
 
 The original occupies a small square, the Piazza Scuola di San Marco, 
 near the Church of Saints Giovani and Paola, Venice. It is surrounded 
 by uninspiring buildings. The great mercenary warrior, Bartolomeo 
 Colleoni, in whose honor it was erected, had decreed in his will that it 
 should stand in the Piazza di San Marco, but the Venetians, hesitating 
 to accord him so much, finally placed the statue in the smaller square. 
 
 There is no other full-size marble and bronze copy of this statue 
 elsewhere in the world. It is forty-five feet high over all. The base of 
 the Newark copy was carved from Georgia Cherokee marble, and the 
 statue cast from standard United States bronze. 
 
 Andrea del Verrocchio, the artist, was born in Florence in 1435 and 
 died in Venice in 1488. He was the most gifted pupil of the great 
 Donatello, and a painter as well as a sculptor. The Colleoni was his 
 last great work. Three of his famous pupils were Lorenzo di Credi, 
 Perugino and Leonardo de Vinci. 
 
 The sculptor of the Newark Colleoni, as it will be known, is J. 
 Massey Rhind, the author of Newark's statue of Washington. His work 
 on the Colleoni is of masterful fidelity and grace. He has brought us 
 not only the form, but the heroic spirit of this wonderful Italian example 
 of the Post-Renaissance period in the history of art. 
 
 Mr. Rhind is a resident of New York. He has executed many 
 notable works in America. 
 
 15 
 
LIBRARY OF CONGRESS 
 
 014 208 614 1 
 
 COMMITTEE OF ONE HUNDRED 
 
 CITY OF NEWARK, NEW JERSEY 
 
 Franklin Murphy 
 
 CHAIRMAN 
 
 D. H. Merritt 
 
 TREASURER 
 
 Matthias Stratton 
 
 SECRETARY 
 
 UzAL H. McCarter 
 
 CHAIRMAN EXECUTIVE COMMITTEE 
 
 James Smith, Jr. 
 
 VICE-CHAIRMAN 
 
 Alexander Archibald 
 
 HON. SECRETARY 
 
 James R. Nugent 
 
 COUNSEL 
 
 Henry Wellington Wack 
 
 EXECUTIVE ADVISER 
 
 His Honor Thomas L. Raymond 
 
 MAYOR 
 
 ALEXANDER ARCHIBALD 
 GEORGE B. ASTLEY 
 CHARLES BRADLEY 
 
 RABBI SOLOMON FOSTER 
 JOHN R. FLAVELL 
 WILLIAM H. F. FIEDLER 
 
 GEN. R. HEBER BREINTNALL LOUIS A. FAST 
 
 ALBERT H. BIERTUEMPFEL 
 JOSEPH B. BLOOM 
 PHILIP C. BAMBERGER 
 ANGELO R. BIANCHI 
 EDWARD T. BURKE 
 STANISLAUS BULSIEWICZ 
 JAMES F. CONNELLY 
 JOHN L.CARROLL 
 
 HENRY A. GUENTHER 
 ALBERT T. GUENTHER 
 JOHN F. GLUTTING 
 EDWARD E. GNICHTEL 
 GEORGE J. GATES 
 AUGUSTUS V. HAMBURG 
 HERMAN C. H. HEROLD 
 WILLIAM T. HUNT 
 
 RT. REV. MGR. PATRICK CODY C. WILLIAM HEILMAN 
 
 WILLIAM H. CAMFIELD 
 JOSEPH A. CARROLL 
 FRANK W. CANN 
 WILLIAM I. COOPER 
 FORREST F. DR^TJEN 
 DR. WILLIAM DIMOND 
 JOHN H.DONNELLY 
 RICHARD DENBIGH 
 ALFRED L. DE VOE 
 PATRICK J. DUGGAN 
 HENRY M. DOREMUS 
 DANIEL H.DUNHAM 
 LABAN W. DENNIS 
 J. VICTOR D'ALOIA 
 MRS. HENRY H. DAWSON 
 FREDERICK L. EBERHARDT 
 CHARLES EYTEL 
 JOHN ERB 
 
 CHRISTIAN W. FEIGENSPAN 
 REV. JOSEPH F. FOLSOM 
 
 RICHARD A. HENSLER 
 HENRY HEBELER 
 MRS. HENRY A. HAUSSLING 
 MISS FRANCES HAYS 
 RICHARD C. JENKINSON 
 LEOPOLD JAY 
 MRS. FRED. C. JACOBSON 
 NATHANIEL KING 
 GOTTFRIED KRUEGER 
 WILLIAM B. KINNEY 
 DR. JOSEPH KUSSY 
 J. WILMER KENNEDY 
 WILLIAM 0. KUEBLER 
 
 WILLIAM J. MC CONNELL 
 ANTON F. MULLER 
 JOHN F. MONAHAN 
 JOHN H. MC LEAN 
 JOHN METZGER 
 JAMES R. NUGENT 
 JOHN NIEDER 
 PETER J. O'TOOLE 
 WILLIAM P. O'ROURKE 
 JOHN L. O'TOOLE 
 EDWARD J. O'BRIEN 
 PATRICK C. O'BRIEN 
 BENEDICT PRIETH 
 LOUIS PFEIFER 
 MICHAEL J. QUIGLEY 
 THOMAS L. RAYMOND 
 JOHN F. REILLY 
 DR. SAMUEL F. ROBERTSON 
 GEORGE F. REEVE 
 FRED. H. ROEVER 
 MORRIS R. SHERRERD 
 EDWARD SCHICKHAUS 
 JAMES SMITH, JR. 
 GEORGE D. SMITH 
 JULIUS SACHS 
 ERNEST C. STREMPEL 
 
 RT. REV. EDWIN S. LINES, D.D. A. A. SIPPELL 
 
 CHARLES W. LITTLEFIELD J. GEORGE SCHWARZKOPF 
 
 CARL LENTZ BERNARD W. TERLINDE 
 
 FRANKLIN MURPHY CHARLES P. TAYLOR 
 
 UZAL H. MC CARTER FRANK J. URQUHART 
 
 D. H. MERRITT DR. A. G. VOGT 
 
 REV. T. AIRD MOFFAT CHRISTIAN WOLTERS, JR. 
 
 FORMER MAYOR JACOB HAUSSLING (HONORARY MEMBER)