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Augusta Browne’s American Bouquet, Part 1

On the Fourth of July, 1826, Augusta Browne strolled along the streets of Boston with her siblings and parents. The day held special significance since it was the fiftieth anniversary of Independence Day, the day the Continental Congress passed the Declaration of Independence. Bands were marching and performing in parades and celebrations throughout Boston. Augusta’s father had even persuaded Mr. Kendall’s Brigade Band to play his American Grand March in one of the events. 

The Browne family had only arrived in Boston a few weeks earlier. It was Augusta’s first taste of America after living in St. John (New Brunswick, Canada) since she was a toddler. The Boston Commercial Gazette reported that the “glorious day was celebrated in this city with every becoming demonstration of joy and gratitude.” The little girl drank in the sights and sounds of the grand celebration in Boston. Memory of the festive, patriotic music heard that day may have lingered in Augusta’s mind as one of her earliest impressions of the United States. That memory may have been a catalyst years later for her American Bouquet.

American Bouquet, first edition (Philadelphia: Osbourn’s Music Saloon, ca. 1840). Digital Image, Boston Public Library

Augusta Browne’s American Bouquet, Part 2

The early editions (ca. 1841) of Augusta Browne’s American Bouquet bore a dedication to “Miss Sarah E. Wise of Virginia.” Although this flourish disappeared in subsequent imprints by Lee and Walker, the dedication to Sarah Wise presents an interesting connection from composer to consumer. The trajectories of these women’s lives raise questions about their respective actions during the Civil War some two decades later.

Augusta Browne Was a Cat Lover

Augusta Browne loved cats, as her prose writing demonstrates.

Does not a fluffy cat, of stately demeanor, confer a positive dignity on the family hearth?

Augusta Browne Garrett, “All Good Persons Love Dumb Animals,” Episcopal Recorder, February 7, 1877.

The Favorite Cat,” hand-colored lithograph published by Nathaniel Currier, 1838–48, Metropolitan Museum of Art, Bequest of Adele S. Colgate, 1962, Accession Number: 63.550.159

In her 1877 article from the Episcopal Recorder, shown in full below, Browne tells anecdotes about memorable cats from her family home. Some knew clever tricks. Others, like Rubin (named for the Russian pianist Anton Rubinstein), had musical tendencies. She extols the usefulness of cats to control rodents, in addition their innate “beauty, talent, amiability, and industry.” The lesson of the essay is a universal message to treat animals humanely. Browne concludes:

It is impossible to love God and be cruel to the creatures that he has committed to our care.

Augusta Browne’s Gift Book Gem

Iris gift book title page

The opening pages of the Iris Souvenir for 1851 glow with golds, reds, and greens. The hues of the new gift book competed with the flower that gave the volume its name, asserted the editor, John S. Hart, in the preface to the volume. Gift books were anthologies of light fiction, poems, and essays for the Victorian-era home. Elegant illustrations and bindings made these gift books the equivalent of modern coffee table books. The Iris made a splash by including scenes produced with an early color printing process: chromolithography.

Title page of The Iris: An Illuminated Souvenir for MDCCCLI (Philadelphia: Lipincott, Grambo, 1851)

Eight of the Iris illustrations were line engravings in black and white, but Hart declared, “the four illuminated pages are printed each with ten different colors, and with a degree of brilliancy and finish certainly not heretofore surpassed.” The title page of the volume (ab0ve) is a riot of colors, flowers, and cherubs at play beneath a rainbow. Deep purple-blue is reserved for the sprigs of iris on the title page and again adorning the music for “The Iris Waltz Composed by Miss Augusta Browne” (below).

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