HISTORY of the SAMSON and LION:
Peter Eisinbry’s Last Will and Testament lists him as tavern owner when he died in 1778.
In the City of Philadelphia Magistrate’s Ledger Book, Pennsylvania Historical Society, Licenses for marriages, taverns, and pedlars, 1761-1776. Ref# Am.2014, 2nd vol. :
This ledger book shows Tavernkeeper Licenses for a tavern keeper with the name of Peter Icenbrey on April 6, 1770, location of “City”, with a time of recommended date of April 1770, a Price of $L2.6.0 and continues to pay this licensing fees through August 12, 1775 on this date of $L3.6.0 as a last date of Peter Icenbrey. As of January 8, 1776, the same ledger book shows John Icenbrey for Tavernkeeper’s license fees being paid with a location of “City”, time of recommended –Jan. 1776 and a Price of $L2.6.0, which would be date Peter transferred the running of the tavern to his son, John.
Peter is listed as referenced above in the City tax lists as a tavern owner in 1774 and owned the Samson and Lion at the south-west corner of Vine and Crown based on the 1785 Philadelphia Directory, with John as tavern keeper in 1785 directory (Crown Street was also known as Pennington’s Lane – this street is today know as Lawrence Street, located between 4th and 5th streets). It is interesting that The City Magistrate’s Public House Keeper’s records show that in 1774, Peter Icinbry’s “abode” as the corner of 5th and Race, the evidential location of the tavern. It is now know the date of establishment of the tavern was between 1769, where Peter was shown that year’s tax records located in the Northern Liberties section of the county of Philadelphia, and Peter was shown in the City tax list as a tavern keeper, and 1770 based on the earliest City Magistrates tavern records. Currently the earliest tavern record shows –ESTABLISHED on April 6, 1770, based on approved city records. John is shown in the Magistrate ledger for tavern licenses in January 8, 1776 and in the 1785 and 1791 Philadelphia City Directories as Inn keeper. John’s wife Catharine is shown from the 1795 to 1811 City Directories at 110 N. Fifth as Inn keeper. There are a few dates in the 1800s that John’s son, Henry is shown as tavernkeeper at the 5th and Race location. The Samson and Lion moved from Crown and Vine Streets location to 110 N. Fifth St, sometime before or during 1773. The history is as follows:
In the “History of Philadelphia. 1609 to 1884.” By J. Thomas Scharf and Thompson Westcott, pub. in 1884 in Vol. I, page 996 , In the books discussion of Inns, Taverns, Ordinaries, Coffee-Houses, and Hotels… “The following were in existence in 1785: Samson and Lion, by John Eisenbrey, corner of Vine and Crown Streets;”. Interestingly as we will see below, this same History of Philadelphia, Vol. 2, page 997 reads, “Constitution and Guerriere, kept by William Herlick, afterwards famous as a militia fine collector, Samson and Lion, southwest corner of Vine and Crown streets;” (Constitution and Guerriere were two ships that battled during the War of 1812).
In the “Annals of Philadelphia, and Pennsylvania, in the Olden Time”, by John F. Watson, Vol. III, page 347, pub. in 1899, it was said in discussing the history of taverns in Philadelphia:
“The Samson and Lion (John Eisenbrey), south-west corner of Crown and Vine streets.
The three later houses ( added by author --including by reference the Samson and Lion) were the only ones remaining and that retained their signs in 1859 as they had them in 1785. The last one, the Samson and Lion, at the south-west corner of Crown and Vine streets, was an old yellow frame house, and has always been used as a tavern. It had a very clean and comfortable appearance. It had a sign of Samson slaying the lion, which has often been retouched since placed there, and bore upon its top the date 1813. In 1785 it was kept by John Eisenbrey, who in 1791 was at 110 South Fifth Street. (Authors Note – it actually was located at 110 North Fifth Street according to census records.) In 1800 John Smith kept it, and about the time of “the last war” the keeper of the tavern was Speck, to whom his widow succeeded, and kept the house for many years. This tavern is one of the oldest in Philadelphia, and is one of the very few inns that has not changed its sign to suit modern fashions.”
The only City Directory that shows the tavern at Vine and Crown is in the 1785 Philadelphia Directory. It shows John Isenbry as an inn keeper located at 110 No. Fifth St starting with the 1791 Directory and the last Directory showing him as an inn keeper was the 1793 Directory, the year of his death. John's wife, Catherine takes over the tavern/inn until the sale of the Sampson & Lion in 1813.
The house on Crown and Vine continued as a tavern as shown in 1800 City Directory with John Smith at the location at Crown and Vine. In the 1801 City Directory, it shows John Smith as a tavern keeper at 132 Vine at corner of Crown, in 1802 at 154 Vine, in 1804 John M. Smith as a tavern keeper at 154 Vine, the 1810 Census shows Henry Poppe, 152 Vine as a tavern keeper in a 2 story frame house. Prior to these other individuals referenced above and below, author is suggesting that the setup of a tavern at the old yellow house on Vine was as shown in the 1795 Philadelphia Directory by Conrad Scherer – innkeeper at 144 Vine Street – South side cross Fourth St and Pennington’s Alley (Crown). According to Conrad Sherer’s Will dated July 12, 1789 probated November 15, 1798, Y.47, listed as Inn Keeper, his son-in-law was John Smith. The same City Directory shows Catharine Eisenbrey as the widow, innkeeper at 110 North Fifth Street, West side, cross Race Street. John Eisenbrey was at this location earlier, to earliest date of 1791.
Somewhere between 1785 and 1791, the Samson and Lion moved from Vine and Crown to the Northwest corner of Fifth and Race.
Source: A view of the northwest corner of 5th & Race Streets, featuring the North America College of Health/Dr. Wrights Indian Vegetable Pills. Location: Historical Society of Pennsylvania - call number: /862EV15/.152
The James Robinson Philadelphia Directory of 1807 shows:
Eisenbrey, Henry, tavern keeper, 110 north Fifth
(Catharine Eisenbrey is not listed in this Directory but is shown in place of Henry in 1808 Directory)
The 1810 Federal Census shows Cath. Eisenbrey, f, tavern keeper at 110 Fifth (NW corner 5th & Race) in a 2 story brick dwelling.
At the old Vine and Crown tavern location, we can trace the continuation of the tavern through its ownership changes after the Eisenbrey’s through the Philadelphia directories as follows:
The 1811 Philadelphia Directory shows Poppe, H., tavern keeper, 152 Vine.
In the 1813 Directory – Poppe, Henry, tavernkeeper, s.w. cor. Vine and Crown .
In the 1814 Directory, Poppe, H, tavernkeeper, 154 Vine.
The 1839 Philadelphia City Directory show Catharine Speck, tavern, Crown and Vine and 1855 City Directory shows Wm Speck harness maker, (h) house located at Crown and Vine. Catharine Speck must have taken on the tavern at the old location of the tavern as referenced above, as well and her husband citing his home address with his business address in 1855.
In the 1856 Philadelphia Directory (page 55), it lists: Breinig, George, tavern, Crown and Vine.
In the 1861 Directory, it lists: Buck, James, tavern, sw corner Crown and Vine.
After Catherine Eisenbrey’s ownership change in 1813 (copy of deed transfer found), we can also trace the ownership changes through the Philadelphia Directories:
The 1813 Philadelphia Directory of that year shows: Hurlick, William, tavernkeeper, 110 n 5th cor. Race.
The 1814 Directory lists: Hurlick, William, tavernkeeper, cor, Race & N. 5th
The 1816 Directory shows William Hurlick as an innkeeper at this location.
The 1823 and 1824 Directories are the last two directories listing William Hurlick. He is show as innkeeper, NW cor. Race and Fifth.
The Philadelphia Directories during the 1850s have become too voluminous to track ownership of the Samson and Lion as referenced by the Philadelphia Annals to 1859. The above histories using the City Directories and census does confirm the Philadelphia History and Annals accounts, although it does not distinguish the address of the Samson and Lion.
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There is reference to the Samson and Lion in the controversy over the authorship of “Hail Columbia” – the presidential march/national/Vice-Presidential anthem…..
“In New York the play bill was headed "By particular Desire" when it was announced that the president would attend. On those nights the house would be crowded from top to bottom, as many to see the hero as the play. Upon the president's entering the stage box with his family, the orchestra would strike up "The President's March" (now Hail Columbia) composed by a German named Feyles, in '89, in contradistinction, to the march of the Revolution, called "Washington's March".
The audience applauded on the entrance of the president, but the pit and gal- lery were so truly despotic in the early days of the republic, that so soon as "Hail Columbia" had ceased, "Washington's March" was called for by the deafening din of a hundred voices at once, and upon its being played, three hearty cheers would rock the building to its base.
In the following year, 1861, the "Historical Magazine," which took a vivid interest in the history of our national songs, brought out an article totally contradicting the two already quoted. The article in Volume V, 280, page 281 is headed "Origin of Hail Columbia" and reads:
In 1829, William Me Koy of Philadelphia, under the signature "Lang Syne", published in Poulson's Daily Advertiser an account of the origin of the song "Hail Columbia", which was set to the music of "The President's March "... Mr. Me Koy's reminiscences have not, we believe, been reprinted since they were originally published. The article is as follows:
The seat of the Federal Government of the thirteen United States being removed to Philadelphia, and in honor of the new president, Washington, then residing at No. 190 High street, the march, ever since known as "the President's March", was composed by a German teacher of music, in this city, named Roth, or Roat, designated familiarly by those who knew him as "Old Roat". He taught those of his pupils who preferred the flute, to give to that instrument the additional sound of a drone, while playing in imitation of a bagpipe. His residence was at one time in that row of houses standing back from Fifth, above Race street, at the time known as "The Fourteen Chimneys", some of which are still visible in the rear ground, north eastward of Mayer's church. In his person he was of the middle size and height. His face was truly German in expression, dark grey eyes, and bushy eyebrows, round, pointed nose, prominent lips, and parted chin. He took snuff immoderately, having his vest and ruffles usually well sprinkled with grains of rappee. He was considered as excentric, and a kind of droll. He was well known traditionally, at the Samson and Lion, in Crown street, where it seems his company, in the olden time, was always a welcome to the pewter-pint customers, gathered there at their pipes and beer, while listening to his facetious tales and anecdotes, without number, of high-life about town, and of the players Nick Hammond, Miss Tuke, Hodgkinson, Mrs. Pownall, and Jack Martin, of the old theatre in South wark. This said "President's March" by Roat, the popular songs of Markoe, the "city poet," in particular the one called "The Tailor Done over" and the beautiful air of "Dans Votre Lit" which had been rendered popular by its being exquisitely sung at the time, by Wools, of the Old American Com- pany, were sung and whistled by every one who felt freedom (of mind) to whistle and to sing . . .
Public opinion having . . . released itself suddenly from a passion for French Revolutionary music and song, experienced a vacuum in that parti- cular, which was immediately supplied by the new national American song of "Hail Columbia happy Land" written in '98 by Joseph Hopkinson, Esq. of this city, and the measure adapted by him, very judiciously, to the almost forgotten " President's March". Ever since 1798, the song of "Hail Columbia" by Joseph Hopkinson, and the "President's March" by Johannes Roat, being indiscriminately called for, have become, in a manner, synonymous to the public ear and understanding when they are actually and totally distinct in their origin, as above mentioned.
Following the clue given in this reprint, I found the original article in Poulson's American Daily Advertiser for Tuesday, January 13, 1829, under the heading "President's March." Though this article ap- pears anonymous, there can be no doubt of Mr. McKoy having been the author, for we know from "Watson's Annals of Philadelphia" that it was he who wrote the series of articles on olden times in Philadelphia, published in said paper during the years 1828 and 1829 and mostly signed "Auld Lang Syne."
In the same year that this gentleman's account was reprinted in the Historical Magazine, Richard Grant White's "National Hymns, How They Are Written and How They Are Not Written," left the press. What this author has to say on the origin of the "President's March" is contained in a footnote on page 22 :
. . . The air to which Hopkinson wrote "Hail Columbia" was a march written by a German band master on occasion of a visit of Washington, when President, to the old John Street Theatre in New York.
A similar view as to the musical origin of the song is held by W. T. R. Saffell in his book "Hail Columbia, the Flag, and Yankee Doodle Dandy, Baltimore, 1864." He says, on page 53:
A piece of music set for the harpsichord, entitled the "President's March" was composed in 1789, by a German named Fayles, on the occasion of Washington's first visit to a theatre in New York.
Rev. Elias Nason, on page 33 of his monograph, "A Monogramm on Our National Song . . . 1869," is equally meager, equally omniscient, and equally opposed to giving authorities when he writes:
...on Washington's first attendance at the theatre in New York, 1789, a German by the name of Fyles composed a tune to take place of "Washington's March," christening it with the name of "President's March."
Some years later, in 1872, Benson J. Lossing reprinted in Volume I (pp. 550-554) of his "American Historical Record" a paper on "The Star-Spangled Banner and National Airs," which the Hon. Stephan Salisbury had read before the American Antiquarian Society, October 21, 1872. In regard to "Hail Columbia" this author says:
Poulson's Advertiser of 1829 mentions that this song was set to the music of "the President's March" by Johannes Roth, a German music teacher in that city. And the Historical Magazine, vol.3, page 23, quotes from the Baltimore Clipper of 1841 that the "President's March" was composed by Professor Phyla of Philadelphia, and was played at Trenton in 1789, when Washington passed over to New York to be inaugurated, as it was stated by a son of Professor Phyla, who was one of the performers.
Rear-Admiral George Henry Preble, in his "History of the Flag of the United States; Boston, 1880," wrote:
The "President's March" was a popular air, and the adaptation easy. It was composed in honour of President Washington, then residing at No. 190 High Street Philadelphia, by a teacher of music, named Roth, a or Roat, familiarly known as "Old Roat." He was considered as an excentric, and kind of a droll, and took snuff immoderately. Philip Roth, teacher of music, described as living at 25 Crown Street, whose name appears in all the Philadelphia directories from 1791 to 1799, inclusive, was probably the author of the march.
According to his son, who asserted he was one of the performers, the march was composed by Professor Phyla, of Philadelphia, and was played at Trenton, in 1789, when Washington passed over to New York to be inaugurated. & a Poulson's Advertiser 1829. & Historical Magazine, Volume III, 23. Baltimore Clipper, 1841.
American Historical Record Volume I, 53. Hon. S. Salisbury's paper before the American Antiquarian Society 1872.
John Bach McMaster, the celebrated author of "A History of the People of the United States; New York," has something to say on the subject in Volume I, on pages 564-565:
At the John street theatre in New York, " in a box adorned with fitting emblems, the President was to be seen much oftener than many of the citizens approved. On such occasions the 'President's March' was always played. It had been composed by Phyles, the leader of the few violins and drums that passed for the orchestra, and played for the first time on Trenton Bridge as Washington rode over on his way to be inaugurated. The air had a martial ring that caught the ear of the multitude, soon became popular as Washington's March, and when Adams was President, in a moment of great party excitement Judge Hopkinson wrote and adapted to it the famous lines beginning 'Hail Columbia.' "
Mary L. D. Ferris, in a clever but superficial causerie on "Our National Songs" in the New England Magazine, new series, July, 1890 (pp. 483-504), expresses her opinion briefly, thus:
The music of Hail Columbia was composed in 1789, one hundred years ago, by Professor Phylo of Philadelphia, and played at Trenton, when Washington was en route to New York to be inaugurated. The tune was originally called the President's March.
In the same year (1890) appeared John Philip Sousa's semi official work, " National, Patriotic, and Typical Airs of All Lands with Copious Notes, compiled by order and for use of the Navy Department." Of the "President's March" Sousa remarks:
On the occasion of Gen. Washington's attendance at the John St. Theatre in New York, in 1789, a German named Fyles, who was leader of the orchestra, composed a piece in compliment of him and called it the "President's March," which soon became a popular favorite.
In the first of a series of articles on our national songs, published 1897, April 29, in the Independent, E. Irenaeus Stevenson maintains that "Hail Columbia" is rather a "personal" than a national song, having been, as he imagines, written in honor of George Washington. But this is not his only blunder, for he not even knew that the "Wash- ington's March" and the "President's March" were two entirely different pieces. “
(Authors Note: italics, underlining and bold above added by author)
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The name for the tavern may have come from the biblical story of Samson slaying the Lion in the Old Testament. The family had deep religious connects to the German Lutheran Church – St. Michael’s and Zion, along with friendship with the church leadership. Interestingly, Samson was prohibited from drinking alcohol.
In Germany, Albrecht Durer has a famous woodblock print of Samson fighting the Lion in the 1490s. Also, Lucas Cranach the Elder in Weimar, Germany during the 1520s painted Samson and the Lion, and is the artwork used in the tavern sign shown in this website.
In the 18th century, “Sampson” was the name of an alcoholic of “warmed cider with rum added.” "Lion" was a nickname for a Dutch gold coin. Is the name and the artwork of the sign a combination of these two ideas, where an uneducated man that could not read could relate to know where to go to pay for a good drink.
A man with a sense of humor, Ben Franklin composed a list of over 200 synonyms for being drunk. A few highlights: “he’s eaten a toad-and-a-half for breakfast”; “he makes Indentures with his Leggs”; “he’s had a Thump over the Head with Sampson’s jawbone.”
With this saying, Franklin may have inadvertently advertised for the Samson and Lion tavern.
Ben Franklin also suggested that we drinkers should thank the heavens that the human elbow is located where it is because we “are enabled to drink at our ease, the glass going directly to the mouth.” One can only agree with Ben’s scientific insight !
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Eisenbrey Family Tavern Locations in year 2012 :
See photos below ……………………………………
Figure - NW Corner 5th and Race Sts., Philadelphia
Figure - NW Corner 5th and Race Sts. towards Franklin Square, Philadelphia
Figure - SW Corner Vine and Crown (now Lawrence St.) Sts., Philadelphia
Tavern Rate* in 1778.
It appears by the following rates, that intoxication could not be as cheaply effected then as at the present day. While regulations are adopted on one hand, to prevent exorbitant charges by tavern keepers, would it not be equally important on the other, to prohibit their selling certain liquors below a certain price, to prevent persons of small meant (who are generally the best customers) being so often accommodated?
" Prices fixed by the Court of Quarter Sessions for Philadelphia county, Sept 7, 1778, to be paid in public houses within said county:
Madeira wine per quart - - £200
Lisbon per quart----- 150
Teneriffe per quart - 150
Spirit per jill - - - 39
Brandy per jill --- - 39
Whiskey per jill ---- - 13
Good beer per quart -- --- 16
Cider royal per quart ---- 26
Cyder per quart . - ---- 13
Punch per bowl of about 3 pint 12 6
Toddy per bowl of about 3 pint 7 6
Breakfast of tea or coffee -- 3 9
Dinner .... 50
Supper .... 39
Lodging .... 13
Good hay for horse per night 3 9 Oats per quart - 7
Any householder exceeding the above to be fined 20« 1st offence, 40«2d offence; for 3d offence £5 and loss of licence.—Perm. Even. Post, Sept. 11, 1778.
(Source: Hazard’s Register of Pennsylvania, Vol. 1 Jan. to July 1829, edited by Samuel Hazard)
(Author’s Note: A gill or sometimes spelled “jill” is equal to 4 fluid ounces; 4 jills = 1 pint)
TAVERN FARE
It is hard to generalize about food at inns and taverns over the long period of time involved and given the wide choice of menus and quality of food. Many travelers carried as much of their own food as possible.
Breakfast was an important meal, with steaks, fish, eggs, cakes, tea, and coffee. One-account notes it was served at 8AM, lunch at 2-3, and dinner (another heavy meal which often included drinks) at 7PM.
Items on the menu would include almost everything in season plus most fish and meats, which are familiar to us. Some, which are not so common today, were oysters and turtle (sea captains would bring them from the West Indies). Meals were sometimes included in the price of the stagecoach ticket.
TAVERN DRINKS
It might be of interest to describe some tavern drinks. As noted before, taverns played an important part in Colonial times and enjoyed real repute. Early on, beer was the common drink and just about everyone drank it, except that it was withheld from the Indians. It was made with imported malt and was encouraged in its production. Barley and hops were planted, but as these grains did not thrive in the New England climate, both cider and rum became ever more popular. By 1775 rum had established itself, costing about 12 cents a quart when meals cost about 15 cents. But even as early as 1636, the Puritan parson Increase Mather noted an "unhappy thing" that the "poor and wicked for a penny could make themselves drunk" on rum. Rum was also called Barbados - liquor, kill-devil, and rum bullion. It was distilled from molasses.
One of the drinks made with rum was "Flip". Originally an English drink, the first reference in the colonies was in 1690. It was made by making a mixture of 2/3 strong beer (also cider), to which sweeteners such as sugar or molasses were added together with dried pumpkin and a gill of New England rum Into this mixture was thrust a hot iron poker (known asa logggerhead, flip-dog or hotle) to give the desired burnt, bitter taste. Flip glasses, without handles, and holding up to 2-3 quarts were used (about the shape of milkshake cups today). Abbott's Tavern in Holden, Massachusetts was renown for many years for serving a "quality flip". By way of cost, a flip was 9d, lodging 3d, and potluck supper 8d according to one menu.
Punch was universal, popular, and potent. The word came through the English from India from the Hindustani "panch" or five, for the 5 ingredients used - tea, arrack (a mid-east liquor), sugar, lemon, and water. Punches seem to have the distinction to have been named for everyone and for everywhere over the years.
No list of drinks would be complete without the mention of cider. Please realize cider was not apple juice - it was hard cider. As mentioned cider came to replace beer, made in vast quantities (one Joseph Wilder of Leominster made 616 barrels stored for the winter), and could be combined with rum as in a flip.
Wines were rather common and inexpensive in the colonies, coming from Madeira, Portugal, and Spain. The term "sack" was used to identify these sweet wines.
With a description of the drinks available at a local Philadelphia tavern:
After enumerating the imported wines, of which Madeira was the favorite of course, the composition of sangrea, mulled wine, cherry and currant wine, and how cider, cider royal, cider-wine, and mulled cider are prepared. Our reverend observer makes the following commentary upon the text of rum: "This is made at the sugar-plantations in the West India Islands. It is in quality like French brandy, but has no unpleasant odor. It makes up a large part of the English and French commerce with the West India Islands. The strongest comes from Jamaica, is called Jamaica spirits, and is the favorite article for punch. Next in quality to this is the rum from Barbados, then that from Antigua, Montserrat, Nevis, St. Christopher's, etc. The heaviest consumption is in harvest-time, when the laborers most frequently take a sup, and then immediately a drink of water, from which the body performs its work more easily and perspires better than when rye whiskey or malt liquors are used." Rum, he tells us, was drunk raw, or as egg-nog ("egg-dram"), or in the form of cherry bounce or billberry bounce; "punch, is made of fresh spring-water, sugar, lemon-juice, and Jamaica spirits. Instead of lemons, a West India fruit called limes, or its juice, which is imported in flasks, is used. Punch is always drunk cold; but sometimes a slice of bread is toasted and placed in it warm to moderate the cold in winter-time, or it is heated with a red-hot iron. Punch is mostly used just before dinner, and is called 'a meridian.'" The other preparations in which rum was an ingredient included “mum”, made of water, sugar, and rum (" is the most common drink in the interior of the country, and has set up many a tavern-keeper"); "Manatham," small beer, rum, and sugar; "tiff" or "flipp," same as foregoing, with the addition of a slice of toasted and buttered bread; hot rum punch, rum and water warmed up, with sugar and allspice,—"customary at funerals;" mulled rum, hot, with eggs and allspice; Hätt-Pätt, warmed beer with rum added; "Sampson," warmed cider with rum added; grog; "sling" or "long sup," half-and-half sweetened rum and water; milk punch; mint-water; egg-punch, etc. "Sillibub" is made of milk-warm milk, wine, and water,—a cooling beverage in summer-time; "still-liquor" was the country name for peach or apple brandy; whiskey, our author says, "is used far up in the interior of the country, where rum is very dear on account of the transportation." The people in the town drink beer and small beer; in the country, spruce, persimmon-beer, and mead. Besides this there are numerous liquors. Tea was commonly used, but often brandy was put in it; coffee was coming into use as a breakfast beverage, the berries imported from Martinique, San Domingo, and Surinam, and chocolate also was not neglected.
(Source: History of Philadelphia, 1609-1884, by Scharf and Westcott)
George Washington was procuring his porter during the early 1790s from another brewer in Philadelphia, Benjamin Wistar Morris. One of the many brewer descendants of Anthony Morris, Benjamin advertised as early as June 1788 that he bottled and sold "Philadelphia Porter, Beer and Cyder . . . at the corner of Dock and Pear sts." This must have been the brewery built in 1745 by Anthony Morris IV -- the location chosen because of springs which were found on the property.
#23 ~ NW Corner Dock & Pear Streets
Taylor's 1861 Sketch of the NorthWest corner of Dock and Pear Streets.
Photo courtesy of the Winterthur Library.
Residents of the neighborhood surrounding Pear and Dock Streets (now Thomas Paine and Dock) in the late 18th century represented a cross-section of society in a thriving port city. Philadelphia's social directories for the period indicate that gentlemen, physicians and schoolmistresses coexisted alongside tradesmen of varying descriptions. Copperplate printing, millstone making, saddle and harness-making, shoemaking and tanning and currier workshops dotted the street. Being just off the river and being a major thoroughfare for the unloading of merchant ships, Dock Street near Pear was also a natural home to seamen and merchants of all sorts, from china merchants to those selling flour and provisions.
One such man was Benjamin W. Morris. Benjamin Morris makes his first appearance in the area in 1796 as a grocer elsewhere at the street at numbers 58 and 60 Dock Street. Later, the Philadelphia Directory of 1805 includes a listing for Benjamin W. Morris & Co Brewers at the Dock and Pear Street site. Mr. Morris and his descendents remained in the area, plying a variety of trades through the late 19th century. According to fire insurance records, in 1808, Isaac W. Morris, brewer, took ownership of the family property at the northwest corner of Dock and Pear Streets, the site of the sketch, along with two adjoining properties to the north.
By the 1810s, census data indicates that Pear Street was primarily residential, with 21 dwellings (17 brick, 4 Frame), 6 stores (5 brick, 1 frame), 3 Manufacturers (3 brick), 1 public building (frame), and 11 workshops (6 brick, 5 frame). According to Philadelphia's social directories of the period, stockbrokers, and real estate brokers had taken up shop at the north end of Dock Street by the early-mid 19th century. Through the 19th century, the area remained the domain of tradesmen and the merchant class. Cabinetmakers, printers and tavern-keepers also called the area home. Interestingly, Dock Street and the streets surrounding it were also the site of many international ministries and consulates. In fact, in 1858, Charles Edward K. Kortright, Consul for Great Britain, could be found just steps away at 211 Pear Street.
In 1850, Isaac P. Morris, trustee of the property, purchased fire insurance from the Franklin Fire Insurance Company (book #87, policy #11324) which indicated the property's intended use as a store. At that time, the structure was a three level brick building with wide, yellow pine floorboards, plastered interior walls, marble sills and panel shutters on the façade. The third floor included dormer windows overlooking Pear Street and a step ladder to a garret or loft. The structure appeared to be well constructed, with oak and poplar joists supporting the broken-pitched roof, and decorated simply with cornice and shingle roof. To supply the store, there were two cellar doorways on Dock Street. The structure remained a commercial enterprise and brewing company until it was demolished in 1900, being replaced by the Francis Perot Malting Company shortly thereafter.
By the early part of the 20th century, Dock Street had become a hub of commercial activity, with produce distribution centers and their accompanying noise and filth crowding the blocks. As the 1950's came to a close, redevelopment was in the air. Much of Dock Street was leveled and Society Hill was transformed into a fashionable residential area seen today. By wiping away its commercial past and playing up the historic significance of the area, Dock Street near Pear (now Thomas Paine) is a routine stop on the tourist route in Philadelphia.
The source of water for the Morris family brewery to make President George Washington’s porter beer was the same water source for the mahogany saw-mill of John Eisenbrey Jr. at the same corner location at Dock and Pear Streets.
Old-Time Drinking Places in Philadelphia
Back in the early 1880s tippling among men of prominence was comparatively common. Moderate drinking was not frowned upon, as later it came to be. Men in all walks of life indulged to some extent, and the saloon was looked upon as a kind of unofficial club, where kindred spirits were wont to meet and pass an hour or two in genial fellowship.
Each of the drinking places of that day had its own individual clientele. One learned instinctively to know at which one of the several taverns one might find certain well-known men, as loyal in their preferences in this respect as diners of the present day are to fixed places for eating. The lawyers, one learned to look for, at Louis Lesieur's. Lesieur was a Frenchman who kept a quiet, very respectably-conducted and unassuming place at the southeast corner of seventh and Sansom Streets. He had the reputation of keeping excellent cognac. And his wines, sherries, madeiras, burgundies and sauternes were rated highly by local connoisseurs.
At Lesieur's just after the adjournment for the day of the Courts, then at Sixth and Chestnut Streets, one could be sure of meeting the celebrities of the local bar, such men at Colonel William B. Mann, Lewis C. Cassidy, "Chris" Kneas, James H. Heverin, "Joe" Bonham, "Ned" Perkins, John McKinley, "Max" Stevenson, John H. Fow, "Mat" Dittman and a host of others of the class known as "gentlemen drinkers;" men who were keen judges of good liquor and who indulged temperately and with discretion. Many a case involving big stakes, was compromised at French Louis' over a round or two of cognac or a special bottle of burgundy.
The Political element one looked for at Steve Walker's, on Fifth Street below Market. Walker's, back in the eighties, was a local institution. It was not the garish, gaudy thing that the saloon of a later era come to be, there was no bar. A huge elaborately-carved sideboard held the decanters. The habitués of the place seated themselves on brandy casks, or on wine cases. Walker served the tipples, expensively garbed, and wearing a silk hat. "Bill" Douglass, George Fairman, Theodore F. ("Plunger") Walton, and men of that class were among Walker's regular patrons.
At the ale vaults of Dick Penistan, on Chestnut Street below Fifth, one met the theatrical and sporting element. Penistan had been an actor, and his saloon attracted men of the stage, together with a goodly sprinkling of men about town. The piece de resistance at Penistan's was old English ale. On Sixth Street, just above Sansom, was a little saloon, kept by a Democratic politician of some prominence in those days-one "Sam" Josephs. Josephs was a pudgy little man who affected a white plug hat. His place was the pet rendezvous for aspiring Democrats and for Court hangers-on.
Canfield's, "The Cabinet," on Seventh street above Chestnut, famed for many years for its collection of framed cartoons of public men, on the other hand was the favorite resort for republican politicians of the smaller calibre and for the newspapermen of that day. The first of local drinking places to serve imported beers, such as Hofbrau, Muenchener, Wurzburger and the like. Every year in the fall there would be a large display of game in front of Lauber's, consisting of bear, moose, buffalo, deer, the various species of duck, geese, swan and birds and fish in general. This would lure the gunner and the angler.
"Bob" Steel's, subsequently a landmark for many years at broad and Chestnut Streets, was then located on the north side of Chestnut Street, just west of Eighth. His place was by long odds the most elaborately fitted drinking place of the town and was rated a show place of some note. Steel's, Finelli's and Dooner's were among the exclusive drinking resorts of the early eighties. Finelli had two places, one on Tenth Street above Chestnut, and another on Chestnut east side of Broad. At Peter Dooner's one met the epicure element, les bon vivants of the town. Tom Green created quite a stir a few years later by fitting up, at Green's Hotel, Eighth and Chestnut Streets, a, for that day, very showy barroom. One of its novel features was a ceiling effect suggestive of the Arctic, with tapering icicles and vistas of shimmering snow and frost.
At just about this time "Andy" Moore, a millionaire distiller, remodeled the barroom of the old Girard House, at Ninth and Chestnut Streets, on a scale of garish magnificence that threw every rival establishment into the shade. Heavily carved and massive mahogany fixtures, velvet fittings and paneled paintings of nymphs, somewhat scantily arrayed, entered into the Moore decorative scheme.
Visitors to Philadelphia counted a visit to the Girard bar one of the things, on no account, to be missed.
Down on Walnut Street, just west of Eighth, was Poulson's, adjoining to the east the old Central Theatre. Poulson's was also noted largely for its paintings, the character of the subjects being such that, when the Brooks License act went into effect in 1889 a remonstrance filed against renewal of the Poulson license, by Lewis D. Vail, the Gibboney of that day, was based upon the supposed indecency of these pictures. Also famous for its works of art was "Charlie" Zeisse's, on the south side of Walnut Street, in the same block. Zeisse's was favored extensively by the theatrical element, chiefly those playing in burlesque, and what was then known as variety." The Zeisse pictures, however, ran to still-life subjects and were not objectionable to the Josiah Leeds, morally straight-laced, of that day.
On Eighth Street below Walnut, on the west side, stood Campiglia's, a resort famous in those days for its spaghetti, Chianti and Neapolitan cookery. Around on Ninth Street above Walnut, on the west side, was a place very much similar to Steve Walker's, kept by George De Waele. De Waels's was, essentially, a resort for the elect. It was managed along very strict lines and was frequented only by the very best class of drinkers.
At the northeast corner of Seventh and Chestnut was the old guy House, kept by Charlie Murray, another resort for men-about-town, as was the Continental bar at Ninth and Chestnut, then under the control of the Kingsleys.
A few paces below Chestnut, on Eighth, was the saloon of E.T. Dillon, a brother of the "Tom" Dillon, whose saloon on Tenth Street was, for many years, a landmark in the city's centre. On Chestnut Street, west of Tenth, under the old Chestnut Street Opera House, was the saloon of "Billy" McGonegal, a favorite tippling-place for the journalistic and sporting element and on Eleventh, just below Chestnut, the widely-known bar of "Billy" Morris.
"Joe" Bowes, famous for his old ales, kept at Eighth and Sansom, and "Tom" Bowes, his brother, at Eighth and Locust. "Charlie" Souls, in those days, was at the northeast corner of Eighth and Sansom. Later he fitted up and opened the Rathskeller, in the basement of the Betz Building, made notable by "Lew" Megargee, Old Commodore Betz, Count O'Neill and about everybody of any prominence in local politics.
At Thirteenth and Sansom Streets was Henry Hornickel's noted for stewed snapper, and at Fifteenth Street, on the present site of the Union League, the place of Dennis McGowan, famed far and wide for the excellence of its shore dinners. Back in Drury Street was the quaint, old ale house of "Billy" McGillin, and around on Penn Square the cafe of Otto Fuchsluger, a cafe and bar much favored by working newspapermen. On Broad street, midway between Walnut and Locust Streets, was Doerler's, a quit, German saloon whose chief claim to note was that it was the meeting place, for many years, of the Pegasus club, numbering among its members such local litterateurs as "Dan" Dawson, "Billy" Walsh, Charles Henry Luders, C.H. A. Esling, Melville Phillips, Morton McMichaels, 3d, and "Tom" White.
Among the pug element of that period, notable places were those of Dominick McCaffrey, on Eighth Street; Fogarty & Ryan, on vine Street; Arthur Chambers, on Ridge Road and Wood; Walter Campbell's, "Long Branch Phil Daly's," at Second and Pine Streets, "Billy" McLean's, Girard Avenue.
Other popular saloons were John Welde's, at broad and Christian Streets; "Squire" McMullen's Randall House, at Ninth and Bainbridge Streets; the place of "gil" ball, Negro leader, on Lombard Street; Dalmedo's, on Girard Avenue; Dennis Considine's, at Second and Walnut streets; Wm. Lindig's and Gus Seitz's, at Fourth Street and Girard Avenue; John Hahm's, on Girard Avenue and Randolph, where the Quail Club covied.
Clustered about the old financial district, at Third and Walnut Streets, where the White House, owned by ex-City commissioner "Bill" "Larry" McCormick, afterward of the Bellevue, tended bar; "Jim" Gosch's, behind the Custom House in Library Street, and "Corny" Haggerty's, at Fourth and Spruce Streets.
Wine and music mixed amicably at Bob Tagg's Maennerchor Garden, northeast corner of Franklin and Fairmount Avenue; Thron's Broadway Garden, at Broad and Locust Streets, on the site of the present Hotel Walton; Tirsot's and Turf Villa, on the River Drive, and at Seney's Garden, at Eighth and Vine Streets, on the River Drive, and at Seney's Garden, at Eighth and Vine Streets. Tony Wagner's "Punch Bowl," which sat on a hill on North Broad Street below Susquehanna Avenue, and Lamb Tavern road in the rear; "Fred" Stehle's and "Dick" Patterson's, at the Falls, were favorite resorts with horsemen, as was also Tagg's Belmont Mansion, in the West Park.
No article assuming to deal with the drinking places of Philadelphia could be complete without a mention of "Bill" Long's Museum, on third Street below Fitzwater, and of "Joe" Malatesta's, on Eighth containing curious and wax reproductions of notorious criminals. Here could be seen the cart which Anton Probst, the murderer of the Deering family, down the "Neck", used in hauling the bodies. This murder created quite a sensation among the residents of Southwark.
Then there was Pat. Gaffney's Museum at 321 W. Girard Avenue, with its Irish relics, notably the large lock taken from Dublin jail, portraits of the Irish martyrs, blackthorn canes, pictures of pugilistic events, etc.
Matltesta's, like Campiglia's, was noted for its Italian cooking, and was the scene of many a gay party of gourmets, with a penchant for the vintages of the land of grapes and olives. One of the oddities of saloon keeping was the Cobblestone Saloon, Thirteenth Street and Moyamensing Avenue, for ears a show place in the southern section of the city. The entire barroom was fitted up in cobblestones, set in cement, and was well worth a visit.
Historic Old Taverns
Historic old taverns that kept alive historic traditions were the Jolly Post and Seven Stars, in Frankford; the old blue Anchor, in Dock Street; the King of Prussia the Wheel Pump, the Anthony Wayne and the Blue Bell.
Thousands of other drinking places are no more that deserve a line or two of mention in deference to ties that connect them with the past growth and progress of the town. There was "Paddy" Carroll's, for instance, dear to the dog-fighters and rat-terrier fanciers of another day, and Arthur Chambers, on Ridge Avenue above Wood Street, locally noted as the stopping place of the mighty John L. Sullivan when, as a champion, he hiked himself to Nicholl's handball alley, on Carpenter Street near Ninth, to indulge in his favorite pastime.
"Jerry" Donohue's, at Eighth and Vine Streets, for years the most remunerative saloon in Philadelphia; George Dasch's, on Market Street; George Concannon's, "Pat" Bunce's, gibbons, and "Two for Five" Moran's, are all worth a line. At "Two-for Five's" the tippler of limited means could purchase two hummers, of a fluid with a kick like whisky, for a solitary nickel.
Taverns
Philadelphia, previous to the enactment of the Brooks High License Law, had a large number of saloons or taverns, and previous to the war of the rebellion it was a custom of these taverns to have a large sign in front of the premises, mostly illustrated, and some with quaint sayings, as:
The "Yellow Cottage," on the east side of Second Street, near
"Rove not from sign to sign, but stop in here
Where naught exceeds the prospect but the cheer."
On Thirteenth Street above locust there was "McDermott's Inn," who announced his business as follows:
I, William McDermott, lives here;
I sells good porter, ale, and beer;
I've made my sign a little wider
To let you know I see good cider.
On Shippen Street (Bainbridge) between Third and Fourth there was a tavern having a swinging sign representing a sailor and a woman, separated by these lines:
"The sea worn sailor here will find
The porter good, the treatment kind."
"The Three Jolly Sailors" was the sign of a tavern on Water Street above Almond. On this sign was a tar strapping a block, and the motto below made him say:
"Brother Sailor! please to stop,
And lend a hand to strap this block;
for if you do not stop or call,
I cannot strap this block at all."
In Frankford Patrick Keegan presided over the Bee-Hive. On his sign he had this inviting inscription:
"Here in this hive we're all alive,
Good liquor makes us funny;
If you are dry, step in and try
The flavor of our honey."
The "Lemon Tree," also called the "Wigwam," was the headquarters of butchers, situated on Sixth Street, Noble to buttonwood, extending westward to nearly Seventh Street.
The Bull's Head Inn, Second Street above Poplar. in the yard of this tavern was exhibited the plan of the first railroad in the United States.
A place much frequented by farmers was the Black Bear Tavern, on the southeast corner of Fifth and Merchant Streets, with a large yard containing wagon sheds extending eastward on Merchant Street.
The "Butcher's Arms," connected with the drove-yard on the north side of Vine Street, Franklin and Eighth Streets.
The Washington Tavern, at the corner of Sixth and Carpenter (Jayne) Streets. Later on this became known as the Falstaff Inn.
The "Yellow Cat," corner of Eighth and Zane (Filbert) Street.
The "Harp and Crown," corner of Third Street and Elbow Lane.
"The Sorrel Horse," at the intersection of Frankford Road and Shackamaxon Street, where dancing was the most popular entertainment.
"Shooting the Deserter," Boon's Tavern, at the foot of Shackamaxon Street.
"Landing of Columbus," Beach Street above Laurel.
"The Mansion," Frankford Road and Manderson (below Richmond) Street.
Daniel O'Connell's Inn, west side of Second Street above Thompson.
The "Bird-in-Hand," Fourth Street below Callowhill.
On Third Street above Shippen (Bainbridge) "X-10-U8."
The "Adam and Eveses" Garden, on Sixth Street below Norris, with a sign picturing Adam and Even in Eden. Later on this was called" The Rosengarten" conducted by Fred Schwamb.
The "Cock and Lion," at the corner of Second and Coates Streets. The sign was later on removed to a tavern on Fourth Street above George.
The "Shakespeare Hotel," northwest corner of Sixth and Chestnut Streets.
"The Robin Hood Tavern," a popular dance house, on Poplar Street below Fourth.
"The Richmond Hotel," at Port Richmond. Charles J. Wolbert, who occupied it in 1821, announced that in addition to his large stock of catfish he had received about fourteen hundred others from the cove opposite Richmond.
"The Decatur Inn," on Carpenter (Jayne) Street below Seventh. Originally known as the German Hall, frequented by quiet loving people. It gave its name to Decatur Street, which was formerly called Turner's Alley, now Marshall Street.
"Our House," on Library Street above Fourth, later on known as "Military Hall."
"The Wasp and Frolic," at the corner of Vine and Garden Streets.
"The Old White Bear," corner Fifth and Race Streets.
"The Pewter Platter," Front Street above Market.
"The Red Lion," Second and Noble Streets, noted for selling dressed hogs.
"The Rising Sun," at the intersection of Germantown Road and Old York Road.
"The Wheat Sheaf," Richmond Street and Wheat Sheaf Lane.
"The Jolly Post Boy," Main Street (Frankford Avenue), Frankford.
"The Seven Stars," Main Street and Bustleton Pike, Frankford.
"The Golden Swan," Third Street above Arch.
"The Stetson House," Third Street above Willow.
"The Merchants' House," Third Street above Callowhill.
"The Green Tree," Race Street below Third.
"The Wagon and Horses" (later on Landner's Military Hall) 528-532 North Third Street.
"The Bald Eagle," west side of Third Street above Callowhill.
"The Black Bear," Third Street, east side, below Willow Streets.
"The Seven Presidents," Coates Street above Ninth.
"The Barley Sheaf," fourth Street below vine.
"The Kensington Black Horse," Frankford Avenue, west side, below Palmer Street.
"The Bulls Head," Front Street above Poplar
"The Delaware," Second Street, east side, below Lombard.
"The Eagle," 227 North Third Street.
"The Fleece Hotel," 1120 Frankford Avenue.
"The Pennsylvania Farmer," Third Street below Callowhill.
"The Seven Presidents," Seventh and Germantown Road.
"The Sorrel Horse," Fourth Street below Vine.
Northern Liberties Town House, Second Street above Coates.
"The Green Tree," corner Marlborough Street and Girard Avenue.
"The Thomas Jefferson," corner Fifth and Poplar Streets.
Keystone Hotel, Third Street above Girard Avenue (adjoining the Bible Christian Church, which had nails driven through the bricks in the sidewalk) now the site of Louis Burk Abattoir.
"The Bull's Head," later on Montgomery Hotel, northeast corner Sixth and Willow Streets.
"The Red Lion," corner Fourth and Wood Streets.
"The Hornet and Peacock," Fourth Street below New.
"The Hornet and Peacock," Fourth Street below Girard Avenue.
"The Falstaff," Carpenter (later on Jayne) Street above Sixth.
"The White Bear," southwest corner Fifth and Race Streets.
"The Spread Eagle," Sixth Street above Diamond.
Phoenix Tavern and Garden, between Fifth and Race Streets and Camac's Lane (Oxford Street) and the present Columbia Avenue. Joseph Knox, an Englishman, kept this place, once the resort of the elite of the city. Camac's Lane ran from Turner's Lane in the southeastwardly direction to Germantown Avenue, passing the Phoenix Tavern on the south. Cohocksink Creek flowed through the garden, with a fancy bridge over it. Later on this property was purchased by the firm of Powers & Weightman, who erected chemical works there, later on removing to Ninth and Parrish Streets. The buildings for a long number of years were used in the manufacture of furniture, notably chairs, by D. B. Slifer, and Hall. Eventually these factories were torn down by the Weightman estate, and neat and commodious dwellings erected.
Many Kensingtonians can remember the Black Horse Hotel, at the intersection of Hanover Street and Frankford Avenue, or the Penn Treaty Tavern, on Beach Street below Marlborough.
It is also within the memory of many, of the Fairhill Mansion, "The Revolution House," which was on a plot extending from York to Cumberland Street, and from Sixth to Seventh Street, with a creek to the north running eastwardly.
Continental Hotel, corner Ninth and Chestnut Streets, was opened for guests on February 16, 1860. For a long number of years this hotel had the patronage of the elite. Opposite to the Continental, at the northeast corner of Ninth and Chestnut Streets, was the Girard House, a house equally as prominent as the Continental.
On Broad Street, west side, below Chestnut, was the commodious and well patronized La Fayette Hotel.
On Chestnut Street above Fifth, the American House.
La Pierre House, Broad Street below Chestnut.
Guy's Hotel, corner Seventh and Chestnut Streets.
The Merchants' House, Fourth Street above Market.
St. Elmo Hotel, Arch Street, north side, above Seventh Street.
LAGER BEER
Philadelphia has the distinction of being the first place in this country where lager beer was brewed. It was brewed by George Manger in 1846, on New Street below Second. It was dispensed at Wolff's saloon, Dilwyn Street below Callowhill. Source: John Dillon
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AUTHOR’S NOTE: To complete the list above, the author shall add hereto the name of the “Samson and Lion” , at the south-west corners of Vine and Crown Streets between 1770 and 1785, and located at 110 North Fifth at the north-west corner of Fifth and Sassafras (Race) Streets from 1785 to 1813.
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