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DOCUMENTARY CHRONOLOGY FOR 1852
Copyright Bruce Seymour
NY Herald 3 January 1852 2.2
Lola Montes -- The Countess of Landsfeldt continues to dance in the same ballet in which she danced on
the night of her debut. Last evening there was a large number of ladies in attendance, the scruples of the sex
appearing to have generally been removed. Lola seemed generally fatigued and evidently out of breath with
but small efforts. She does not at present posses the requisite strength or muscular development for great
dancing. Like any other art, it requires for success, much time and practice; and if she continues it, she will
doubtless improve it; but it rarely if ever happens that any danseuse is eminently successful who does not
learn the art when a child and cultivate it till ripe years.
Albion (New York) Page 8.3
3 January: The Broadway Theatre: Lola Montez:.....The crowd, almost exclusively of the masculine gender,
was immense; and they had a merry time of it, for the failure of the great attraction was so complete, that
one could scarcely forebear laughing at the thought of all the excitement got up for the occasion. Never was
quotation more appropriate than the one already applied, Parturiant Montes, nascitur ridiculus mus.
The star of the evening dance thrice, in a trifling ballet; but a half-dozen of her steps and one single pose
satisfied the lookers-on, that she has not the smallest chance in the world of achieving eminence as a dancer.
Surely the fair dancer's head must have been turned by flattery, ere she could have dreamed that this was her
vocation. She possesses no qualifications for it - neither grace of movement, or flexibility of limb, nor even
the acquired mastery of the rudiments of the art; without which she must remain a tyro. True, she has a
marvelously handsome face, with an eye of exceeding beauty and force of expression; and in a so-called
Hungarian dance, with a marching accompaniment of soldiers, she threw great spirit into her action and
gave inklings to the curious of that latent fiery temper with which rumour has so generously endowed her.
But this will never make a Cerito or a Carlotta Grisi; and the plain truth must be told - the dashing, showy,
seductive, and eccentric Lola Montes is not, and never will be, a danseuse. We have only to add that she
does not in the least resemble any engraved portraits of her which we have seen - they do not do her justice.
She is of medium height and thin exceedingly, with a neat and well turned figure.
NY Herald January 4, 1852 3.2
Attendance continues to be very large.
GHA Wendlend NL 50/I Ludwig to Wendlend
6 January, Munich: Wish to know the following: a) Is the tour of North America or the whole world? b)
How much is she getting? c) What are the terms of her contract?
The Sun (Baltimore) page 2.2
6 January: LM is said to have concluded the most profitable week ever at the Broadway Theatre.
Harvard Theatre Collection, Playbills
Broadway Theatre, E.A.Marshall, sole lessee, Thomas Barry, Stage Manager/
7 January 1852, only three more nights because of engagements in Philadelphia, Washington, and
Baltimore
Third time in America - Un jour de carneval a Seville
Donna Inez = LM, Marco = GWSmith//Spanish Dance = Corps de Ballet, Pas De Andalusia = LM,
Tambourine Dance = Corps de Ballet, Pas de Sivigliana = LM, Grand Galop = Corps de Ballet, Pas de
Matelot or Sailor Dance = LM, Grand Tableau
Boston Public Library, Manuscript
18 January: Thomas Barry to J.B.Wright, Esq.
Broadway Theatre
13 Jan 1852
My dear Wright
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 2
I enclose you a letter I received yesterday from Brooke. I have said all I can say and I hope not without
some effect. The movements of Lola Montes are becoming more mysterious. She closed here on Friday
night and is announced to dance in Philadelphia on Monday. But this is somewhat doubtful. If she pleases
she will keep her engagement, but if she does not please the Devil can't make her. I shall be thankful to get
rid of her.
Yours sincerely,
Th.Barry
J.B.Wright, Esq.
Courrier des Etats Unis, page 2.5
15 January: Claims LM can't dance at all, that she is hopeless. Says she went first to a first-class hotel, then
was forced out because the ladies didn't want her. Wills got her a private place. She is giving autographed
portraits to the press, living quietly. The sale of tickets by auction didn't go well. Signora Borghese is part
of the claque for LM. Average receipts for the Broadway are $400, but LM barely brings in her fee of
$200. It's worse than a fiasco, it's total indifference.
Courrier des Etats Unis, page 2.2-4
16 January: Un Ange Meconnu: Long article mocking LM's letter to the Herald
New York Herald 17 January 1852 4.4
Last appearance of Lola Montez at Broadway Theatre. Lola Montes closed her third engagement last
night for the benefit of the Firemen's Fund. The theatre was crowded to excess and the greatest enthusiasm
prevailed. The danseuse was loudly applauded and called before the curtain at the end of each ballet,
amidst showers of bouquets. At the termination of the performance she was again called and replied to the
plaudits as follows: Ladies and Gentlemen -- My heart is so full, I cannot speak more than my grateful
thanks for your kindnesses. Gallant friends, God bless you and your noble institutions. Farewell. God
bless you!
NY Herald 18 January 52
LM engaged at National Mercury, Boston
Sunday Mercury, 18 January 52
Binet letter from Geneva paper reprinted
Mass. Historical Society, Edward Everett Papers: 1852/Jan.19 Vol.XCIX, Reel 30
19 January, Edward Everett to Henry Holland: We have Lola Montez too, in fact she came over in the ship
with Kossuth. If you could trust foreign adventurers in the account they give of themselves, she has played
a part not much less important and honorable than his. I send you her manifesto, which is a rather amusing
specimen of impudence. The names of the two parties in Bavaria, according to her account, are really not
bad. She is certainly no fool. Her success has I believe been very indifferent. No decent female has
entered the theatre when she was to appear.
Daily News (Phila) page 3.2
19 January: Walnut St Theatre (at corner of 9th and Walnut), Betley with Mr Schmidt (sic) as Daniel
Daily News (Phila) page 3.2
20 January: Betley + Little Devil
GHA Wendlend NL 50/I Ludwig to Wendlend
20 Jan, Munich: Is Heald still paying her and how much? Did she start the US tour out of need or
otherwise? What is the story about Barnum?
Daily News (Phila) page 3.2
21 January: Betley
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 3
Daily Pennsylvanian (Phila) page 2.2
22 January: The boxes and parquette of the Walnut were graced with another crowded and brilliant
audience last evening and the far-famed Lola was again received with enthusiastic demonstrations of
approbation - her dancing is neat and beautiful, and her acting spirited, natural and elegant. She is the
personification of grace, and her bearing is modest and ladylike.....
Daily News (Phila) page 3.2
22 January: Betley plus Diana and her Nymphs
Daily News (Phila) page 3.2
23 January: same as 22 Jan
Daily News (Phila) page 3.2
24 January: same as 22 Jan
Daily Pennsylvanian (Phila) page 3.6
24 January: Lola Montez - This distinguished artist and world renowned lady had another large and highly
respectable audience at the Walnut last night, and her performances gave general satisfaction. Lola Montez,
although not a great danseuse, is still a very beautiful dancer, and in point of graceful action, she has never
had her superior on the stage. There is something irresistibly fascinating in her manner which wins all her
auditors in her favor.
Sunday Dispatch (Phila) page 2.7
25 January: At the Walnut on Monday evening, Lola Montez made her first appearance in this city. The
house was a good one, the great mass of those present being men. There were about 15 ladies in the first
tier of boxes and ten or twelve in the family circle. Those who attended evidently desired to see a notoriety
and had but little expectation of witnessing the exertions of a superior artiste. In this anticipation they were
not disappointed for as a danseuse, Lola Montez is beneath criticism......To speak seriously of her as a
dancer could but be regarded as a joke, and her attraction is the notoriety attached to her name. She has a
face which was once beautiful, but is not now fresh and beaming. Her eyes are blue, unusually large and
lustrous. Her face is oval and rather Milesian in character. Her figure is slight and her movements are not
marked by any particular grace. She lacks power and strength and seems to execute the steps which she
indulges in with indecision and difficulty. After Monday night, the town curiosity being gratified, the
houses fell off very much, and during the remainder of the week the theatre was not more than half full any
evening.
Daily News (Phila) page 3.2
26 January: Carnaval a Seville and Diana
Daily News (Phila) page 3.2
27 January: same as 26 Jan
Daily Pennsylvanian (Phila) page 2.2
28 January: Lola Montez has diamonds in her possession valued at $200,000. She must present diamonds
of a brighter lustre than those in her possession to commend her to the American people.
The Sun (Baltimore) Page 2.3
28 January: Lola Montez: "We begin to believe she is more sinned against than sinning." Such is the
language of the Albany Knickerbocker in reference to Lola Montez. Indeed, the recent remarkable letter of
this most remarkable woman is telling with powerful effect upon the opinion of the country. It appears to
have shaken the established convictions of thousands respecting her life and moral character. That she has
been the victim of a strange and systematic defamation, is obtaining credence, not only in this country, but
also in Europe. Thurlow Weed, editor of the Albany Gazette, writing from Paris, says that from the reliable
information he has received, he does not hesitate to express his conviction that she is a much abused and
persecuted individual. A Munich correspondent of the London Herald asserts that some strange revelations
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 4
in connection with the history of Lola Montez in Bavaria, which are destined to startle all Europe,
presenting her in a new and more favourable light before the public, may soon be expected. Indeed, we
should not be surprised if the famed danseuse yet became an object of the deepest interest to the political
world. Perhaps the revelations referred to by the Herald's correspondent have been anticipated by the
disclosure in her recent letter of the projected dismemberment of Switzerland, and of her agency in
frustrating its execution. This, indeed, is an astounding revelation, and one well calculated to arouse the
attentions of friends of popular freedom and of national independence throughout the world. If, on this
account, the wayward and beautiful Lola has incurred the vengeance of the enemies of liberty, and the fact
be well sustained, (which, it is said, it soon will be) there will not be wanting millions of champions who
will rise up in her defense.
Daily News (Phila) page 3.2
28 January: same as 26 Jan
page 2.4: exchange of letters concerning benefit for the association of disabled firemen
BSB LA 39 Wendlend to Ludwig
28 January: .......On August 8 LM signed a contract with Legrand Smith, Barnum's agent (who did an honest
business with Jenny Lind). Fifty percent of the net was to go to Barnum, but Smith regretted it because
Barnum would not recognize the contract. So on 26 August LM signed a contract with Roux and Co (an
operator like Barnum).....Her intention is to return to France. She said in front of the US consul here that
Heald had four times given her 100000 francs instead of her annual pension, but that this wasn't enough for
her so she had to go to America. If her dancing fails she'll hold political and cultural??? lectures. She
claims Heald took all her jewels and that he is a cur. I think he's probably still paying her the 1033 francs a
month.
Daily News (Phila) page 3.2
29 January: Jour de Carnaval
Daily Pennsylvanian (Phila) page 1.7
29 January: reprint of story copied from the Norfolk paper of the man from New Orleans determined to get
to New York to see LM
The Sun (Baltimore) Page 2.3
30 January: LM was expected in Washington Monday next, but her arrival has been postponed a week./
quoting from the Episcopal Recorder of 24 January: Without speaking today of the claims of ill-supported
missionaries and other ministers of the Gospel, we would remind the reader of the sufferings of the poor and
destitute at this very inclement season. Shall a dancing woman carry away her thousands while our poor cry
out for hunger?
Daily News (Phila) page 3.2
30 January: Jour de Carnaval a Seville
Daily News (Phila) Page 3.2
31 January: Benefit: Jour de Carnaval
The Sun (Baltimore) Page 2.1
4 February: LM has returned to NYC on a visit prior to her Washington engagement next Monday.
The Sun (Baltimore) Page 2.3
5 February: LM's Progress - Lola's New York debut was principally composed of males, but each night
brought an accession of fair auditors, 'till they composed a proportion of two-thirds of the dress circle and
parquette. The two nights succeeding the promulgation of her celebrated defense was attended by the
fashion and respectability of New York. The same holds good of Philadelphia. She has been visited in
each city by ladies of the first rank, who have congratulated her upon her successful vindication of her life
and character; and by gentlemen of the highest standing - among them many clergymen - who have
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 5
concurred in similar expression of kindness and sympathy. The star of the danseuse is again on the
ascendant. - Exchange
same issue page 4.3
LM, accompanied by Dr. Moorhead, was present at Brougham's Lyceum, to witness the debut of Mrs.
Forrest.
The Republic (DC), page 3.2
7 February: LM has arrived at the Irving House.
The Sun (Baltimore) Page 4.2
9 February: LM was invited to the ball of the Young Men's Dramatic Association of Georgetown
The Sun (Baltimore) Page 1.4
10 February: LM's debut was before a crowded house with goodly numbers of ladies present.
Page 2.2 The ball is Thursday evening. Reporter writes "Her person is slight yet elegant - unlike her
pictures or any description of her I have yet seen. But it principally is her features and their expression
which strike you as surprising and from which it is impossible to infer the existence of those qualities of
mind which have distinguished her character. A subdued manner, an expression of confiding simplicity,
and almost childlike innocence, with features in keeping with her otherwise slight and ethereal
conformation, afford the only indication of indomitable will - of art - of address - possessed by the female
intrigant, politician, and diplomatist, who has astonished modern Europe with a new cast of the dramatis???
personae of history.
The Sun (Baltimore) page 1.6
22 February: LM to arrive today: to stay at Barnum's hotel in Jenny Lind's suite. She will visit the Holliday
Street Theatre tonight for the benefit of Mr. T.J.Barton.
The Sun (Baltimore) page 3.2
25 February: LM to dance Jour de Carnaval a Seville as Marquita, GW Smith as Marco
page 2.3 LM had a grand reception at the Holliday Street Theatre last evening, the house being crowded,
with some show of the fair sex in attendance. She appears in the same ballet again this evening. She
certainly dances with grace and spirit, though not dashingly, and is quite bewitching. She was
enthusiastically received, and all seemed well pleased. She made a very favorable impression. The ballet
troupe accompanying her is altogether a fine one.
The Sun page 2.3
27 February: Lola Montez, Countess of Landsfeld, had another large audience last evening at the Holliday
Street Theatre. There were many ladies in attendance....In the last dance it was evident that the Countess
was inconvenienced in some way....On the fall of the curtain it was announced she had been taken suddenly
ill. J.H.Whitehurst has made a daguerreotype of LM
The Sun page 2.1
27 February: Mad'lle Lola Montez: This far-famed Countess is destined to become as brilliant a danseuse
as she is an intellect. Fine house...really exceeded herself, dancing better than ever. Benefit tonight in a
new ballets, Jour de Carnaval & Betly
The Sun (Baltimore) page 1.6
1 March: LM, Countess of Landsfeld, closed her performances in this city, at the Holliday on Saturday
evening. She appeared in "finer feather" than ever - seemed well pleased with the friends who were about
her, and they with her. She was rapturously applauded in many of her dances, ...was called for...She
appeared smiling and gracefully on each occasion, and remarked, briefly, the last time, that she would ever
regard her reception in the city of monuments as one of the most pleasant souvenirs of her life.
Boston Herald, page 2.5
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 6
12 March: Lola Montez, coming from Washington a few days ago, in the cars, is said by one of the Sunday
papers to have indulged herself smoking a cigarette. One of the conductors is related to have remonstrated
with her ladyship upon this infraction of the rules. "Madame, you can't smoke here." "Eh?" said the piquant
beauty, leisurely withdrawing the cigarette from her pretty mouth. "You can't smoke here, madame." "But
you see I can," and she puffed forth a volume of smoke into the very face of the mystified and abashed
conductor, who was fain to leave the beauty to do as she pleased. So she finished her cigarette without
further annoyance or interruptions.
Harvard Theatre Collection, Playbills
Howard Athenaeum, First Appearance of Lola Montez, This week only
March 15, 1852// Carneval a Seville//J.K.Goodal, Leader//Mariquita = LM, Marco =GWSmith//
L'arrogonaise = Corps de Ballet, Pas d'Andaluzia = LM, Characteristic Pas Festival = LM + GWS, La
Cracovienne = Miss Price, Exercises Comiques = Mons. Cane, Tarantelle = LM, Pas de Follies = Corps de
Ballet, Bloomer Polka = Corps de Ballet, Grand Pas de Deux = Misses Price and Josephine, A variety of
characteristic dances by the whole Corps de Ballet, and peculiar gymnastic feats by Mons. Cane, the whole
piece terminating by LM in the Pas de Matelot
Boston Daily Mail, page 2.4
15 March: Lola Montez arrived at the Tremont House yesterday morning, attended only by a servant girl.
In consequence of an accident to the train (the Fall River) Lola did not arrive until 9 am. She was to have
received company at 5 o'clock, yesterday afternoon, but in consequence of the fatigue of traveling she was
compelled to rest her wearied limbs in her downy couch and the gentlemen who called to see her were
obliged to make the best of their disappointment.
Providence Journal, page 2.4, 20 March
Quoting the Times about LM's Boston debut: The house was densely filled in every part. Half an hour after
the doors were opened there was hardly a nook or cranny from which to obtain a view of the stage. Several
hundred persons were compelled to leave, unable to procure even a standing place. The Countess was
received in a most cordial and enthusiastic manner. She is a beautiful woman and dances with more grace
and spirit than we calculated upon reading some of the cynical criticisms of a few of the New York press.
The Tarantula was danced by her as if she had the mind to appreciate and the ability to render its meaning
as it ought to be. She threw more poetry and effect into it according to our notion, than the famed Elssler.
The corps de ballet was never surpassed at the Howard.
Boston Daily Mail, page 2.5
16 March: The reception of this famous woman at the Howard last night was most enthusiastic. The
audience, though composed mostly of the male sex, was quite as respectable as any ever seen in the
building.......LM waved a miniature US flag at her curtain call.
Boston Daily Courier, page 2
16 March: Lola Montez made her first appearance with great success at the Howard last evening. The
house was filled to overflowing, although not above two or three dozen ladies were present. She was
greeted on her entrance upon the stage with great cheering and a shower of bouquets.
Boston Herald, page 2.4
16 March: LM is expected to attend the Glen Complimentary Ball at the Union Hall tonight. Glen was a
co-editor of the Boston Herald
Boston Public Library, Playbill
Howard Athenaeum, W. Marshall, sole lessee and manager
Tues., March 16, 1852 - 2nd appearance of Lola Montez; Jour de Carnaval a Seville; Marco G.W. Smith,
Marquita, Lola Montez; Carnival Scene. The entire stage will be brilliantly illuminated! Crowds of persons
in Fancy, Grotesque and Sumptuous Costumes are seen promenading, attacking with their sarcasm friends
and foes, companions and strangers indiscriminately, without anyone taking offense. In the course of this
scene will be executed
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 7
L'Arragonaise, Corps de Ballet; Pas d'Andalusia, Lola Montez; Characteristic Pas Festival, Lola Montez
and G.W.Smith; La Cracovienne, Miss Price; Exercises Comique, Mons. Cane; Tarantelle, Lola Montez;
Pas de Follies, Corps de Ballet; Bloomer Polka, Corps de Ballet; Grand Pas de Deux, Misses Price and
Josephine; A variety of Characteristic Dances by the whole Corps de Ballet and Peculiar Gymnastic Feats
by Mons. Cane, The whole piece terminating by Mad'lle Lola Montez in her Pas de Matelot
Boston Daily Mail, page 2.1
17 March: When Lola Montez was in Washington, she received a good deal of attention from certain
honorable gentlemen who are numbered among the dignitaries of the nation. Several Senators called upon
her at her lodgings at the Irving House, New York (?????); and a certain daring member of the House gave
her an airing on the Avenue, in one of the most dashing turn outs of the city. The ostentation of his
attentions naturally excited some remark; and at an evening party a day or two after the display on the
Avenue, the Honorable individual came up to a lady who was conversing with a gentleman, and said,
somewhat severely, "he should like to hear any man censure him for driving out the incomparable
countess." The gentleman to whom the threat was evidently addressed, rather sarcastically remarked, "Sir, I
do not think your reputation is injured in the least by your attentions to Lola Montez."
A member of the press also called upon the fair countess, when the conversation turned upon the
character of the gentlemen whom she had met in America. Mr. G... said to her, "I suppose you prefer the
society of intellectual men." "No, I do not," said Lola: "intellectual men are generally selfish and
fashionable men are always shallow." "What kind of men then do you like?" inquired G.... "Moral men,"
said Lola; at which G... looked at her with an expression of mingled surprise and incredulity; whereat her
bright eyes flashed, her bosom heaved, and her whole form dilated, as she repeated, with a tone that thrilled,
and a gesture that startled, "Yes, by G-d! sir, Moral Men!" Whereupon the astonished editor retired with a
flea in his ear.
To another gentleman she expressed great disgust at the immorality of American Senators. "Why," said
she, "do you know as I was sitting in the gallery of the Senate chamber the other day, I noticed the most
licentious and dissolute of my ballet girls winking and beckoning to one of the Senators, who came up and
sat by her for half an hour.......
The Countess is compelled per force to entertain with her extraordinary conversational powers some
fifty or sixty fawning white liveried fools every day at the Tremont House, who insist upon being introduced
to her, simply for the purpose of saying that they have "had a talk with the Countess." This is the talk in all
the barrooms of the city. What if the volatile countess does smoke her cigarettos? Whose business is it?
What if she does think Mr. Forrest is an injured man, and like all other men of genius has his "weaknesses,"
whose business is it? What if she does think the Maine Liquor Law "no great pumpkins," whose business is
it? No matter, she draws good houses - Every man, woman, and child is determined to see her, but they
have no business to bore her to death with cards, or importune her servants with desires of introduction to
her presence in her own domicile. The Countess has a reputation created - she knows how, and so long as
she keeps the steam up, whose business is it?
page 2.4 Lola Montez has created so much enthusiasm in the Carnaval de Seville, that it will be repeated
this evening at the Howard Athenaeum. The excitement in reference to her continues unabated. The public
have learned that Lola is not only an extraordinary woman but a beautiful danseuse. Her style is remarkably
refined, modest and ladylike, while at the same time she lacks nothing of the fire and energy requisite to
give full effect to the Tarantella and other brilliant dances. Mr Smith, the principal male dancer, is a
dashing and graceful performer and the corps de ballet is large and effective.
Boston Daily Courier, page 2.6
17 March: There was another great jam at this house last night to witness the second performance of the
celebrated Lola Montez, who has much exceeded the expectations of our citizens as an artiste. Without
attempting the extravagant and unseemly tours de force on which most artists rely for producing a sensation,
she pleases her audience by the united energy, dignity, and grace of her movements.
Providence Journal, page 2.4
18 March: LM will make one appearance; four times the usual expenses
Boston Herald, page 2.4
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 8
18 March: Howard Athenaeum - Lola Montez appears tonight in a new ballet which was prepared expressly
for her, "Betley, the Tyrolean." This ballet, founded on a French Vaudeville, gives an excellent opportunity
for the display of Lola's peculiar, original and graceful style of dancing and pantomime. This is the last but
one performance of the Countess in this city. We learn that Lola is quite anxious to obtain the favorable
verdict of the whole people of this city, and is quite proud of the plaudits already bestowed on her here.
Boston Herald, page 2.5
19 March: ....Lola has won golden opinions from our citizens, many of whom were prejudiced against her
on her first appearance, but have been compelled to acknowledge her great merit as an artist and
prepossessing appearance as a lady.....
Harvard Theatre Collection, Playbills
Howard Athenaeum, Benefit and last Appearance of LM, Friday, March 19, 1852
Betley the Tyrolean = LM, Daniel, rich peasant = GW Smith, Max Starner, Betley's brother = Mons.
Cane/// Grand Introductory Dance = Corps de Ballet, La Tyrolienne = LM, Grand Pas de Deux = LM &
GWS, Mountaineers' Dance = Corps de Ballet, Le Pas Styrien = Corps de Ballet, Hungarian Dance = LM,
Grand Galop = Corps de Ballet
Providence Journal, page 2.5
19 March: Tickets to be sold at auction because of the demand; appearing at the Museum
Providence Post, page 2.4
19 March: "Lola Montez" quoting the Boston Post: Justice has not been done to Lola Montez as an artist.
We have seen no dancer who has pleased us more. Her bearing is always dignified and proper, and all her
movements manifest an agreeable ease and graceful confidence. She is very "light of foot" and remarkably
agile, while her postures are as soothing and gentle as the curling smoke of a delicious Habana. Indeed, we
consider her style as the very perfection of her art, and for modesty, grace, and ingenious combination,
unequaled by that of any of her predecessors.
Providence Journal, page 2.4
20 March: Box of 12 seats for LM's performance sold for $23
page 3.1: ad for Jour de Carnaval plus two farces
Providence Post, page 3.1
20 March: Ad for Jour de Carneval plus farce Ole Bull
Boston Herald, page 4.2
20 March: Lola Montez was serenaded last evening by the Germania Serenade Band. Lola appeared at the
window and seemed much pleased.
Boston Herald, page 2.5
21 March: The success of the distinguished Lola Montez was so great during the last week and so many
persons were unable to procure seats, that Mr. Marshall has offered inducements which will detain the
Countess of Landsfeld in this city another week. She will appear tonight in "Betley the Tyrolean," which
produced an exceedingly favorable impression last Friday evening. The excellent corps de ballet appear in
this piece to the best advantage, and in it the fair Lola herself is more graceful, coquettish and fascinating
than in the "Carnaval de Seville." The truth is, that the enthusiastic reception which Lola has met with has
inspired her; and she dances with fresh energy and piquancy on each new appearance before the public. A
brilliant and fashionable array of ladies greeted her on Friday night last, and more will be in attendance
tonight. The sale of seats at auction will take place at 10 o'clock this morning.
Boston Daily Mail, page 2.6
March 22: notes presence of a large number of ladies on Saturday
Providence Post, page 2.3
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 9
22 March: Lola Montez - The Museum was crowded on Saturday evening, the occasion of the first
appearance of this distinguished personage before a Providence audience. She was most enthusiastically
received, and warmly applauded throughout her dances. At the close, being loudly called for, she came in
front of the curtain, made a very pretty speech in broken English, thanking the audience for their kind
reception, which she should long cherish in grateful remembrance.
BSB LA 39 Wendlend to Ludwig
22 March: Forwards clippings from Philadelphia Ledger of 27 Jan; lots of NY Herald articles
Boston Daily Courier, page 2.4
23 March: The house was a very good one, though not so excessively crowded as on Friday evening. The
ballet did not go off with so much spirit as before owing doubtless to the fatigue the artiste has lately
undergone.
Boston Herald, page 2.4
23 March: The lovely and fascinating Lola Montez, whose appearance among us has created more
enthusiasm and excitement than any other danseuse since Fanny Ellesler, and whose artistic skill compares
favorably with that divinity in the graceful elegance of motion, spiritualized by music, appears this evening
in the Carnival of Seville, which has been nightly received with most rapturous applause by large and
fashionable audiences.....
Boston Daily Mail, page 2.5
24 March: The bewitching grace displayed in her favorite dance of the Tarentella is alone worth the price of
a ticket.
Boston Public Library, Playbill Collection
25 March 52; Positively last but one; Carnaval a Seville and Betley (with GW Smith as Daniel) (only
number naming LM is the Grand Pas de Deux) Tomorrow Farewell Benefit of Lola Montez
NY Clipper (about 1875?)
27 March: LM in Boston in Saturday Matinee (no Saturday evening performances allowed in Boston);
article states Wyzeman Marshall, the manager, who accumulated the nucleus of a fortune in that season, is
retired in Boston; GW Smith is at a theatre in Philadelphia; Henry Lewis, actor and stage manager, retired
some years ago; WH Meeker is a member of the stock company of Wood's Museum in NYC; WL Ayling
died at Boston, 15 Sept 1857; Otis Marshall, brother of the manager, is living in Boston; W.H. Hamblin
died in NYC on 2 or 3 Nove 1874. Tom Parsons is dead.
Boston Daily Courier, page 2.6
27 March: The Countess of Landsfeld, accompanied by Frederick Emerson of the Grammar School Board
and Robert E. Hudson of the Merchants' Exchange, visited three of the public schools yesterday. She first
visited the Wells School for Girls in McLean Street, and after a short stay proceeded to the English High
School in Bedford Street. Here she was honored with an elocutionary ode on the part of the boys, and the
exercises were conducted in French. She expressed herself greatly pleased, and addressed the scholars in a
brief manner in the French language. She then entered the Latin School, in the same building, where, also,
there was an exhibition of declamation in honor of her presence. Her stay at this school was more
protracted than at the others, and her satisfaction at the advanced and enlightened conditions of the pupils
she expressed in a Latin speech. The scholars were captivated with he manners and learning which the
countess displayed.
Mass.Hist.Soc.; Edward Everett Papers, Vol.C(100), Reel 30
March 30: Edward Everett to Nathan Hale: If the controversy relative to Lola Montez continues, I would
not, if I were you, commit the Advertiser in her defense. She is better known in Europe than here and is
there regarded as a very low person. I cannot but think her introduction to our public schools a most
unfortunate step for the good name of our city, and but too well adapted to confound all ideas of right and
wrong in the minds of our children. Pardon these suggestions, from yours sincerely
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 10
GHA Wendlend NL 50/I Ludwig to Wendlend
31 March, Munich: I see she's having squabbles in the New World as in the Old. She finds no peace in
either. Are her memoirs appearing in Paris? At here they have come out in Berlin; so far I'm well treated
but she's put words in my mouth, has me in company where I never was. I am treated only with praise. Let
me know if and when she's back in Paris. It would be better if she'd stay in the fourth or fifth continent. Let
me know at once if you anything certain about her return. Does her husband still give her anything every
month or did he give her a flat amount to settle?
Boston Daily Mail, page 2.5
31 March: LM ad
Harvard TC, Lithograph
Caricature "The Enchanting Lola Distributing Medals to the Children of the Boston Schools" caption - "I
gif you dis Shentleman, I know him von l-e-etle Book, and dis oder Shentleman, I know more ash better &
dis Shentleman I know better ash mush" by J.L. Magee, 69 Nassau St, N.Y.
Gleason's Pictorial Drawing Room Companion, 1852, page 249
no date: ....Her person and her bearing are unmistakably aristocratic; and her performance upon the stage,
though not of the highest order as an artiste, is yet far above mediocrity.....Let her faults be what they may,
we respect the woman for her many good qualities - generous, free-hearted, an abhorrer of humbuggery, a
plain, straightforward woman, able and determined to make her way in the world, independent of all
opposition.
Boston Daily Mail, page 2.4
1 April: Lola was greeted by a full house (considering the severity of the storm) last evening at the Howard,
among which were several gentlemen bearing strong likenesses to some of the straightest sect of our School
Committee.
Boston Daily Courier, page 1.8
1 April: .....Mr Emerson interrupted. "Does the gentleman wish what he is saying reported and spread
among the children of our schools?" Mr. Felt: "The children know more about it than we are aware of.
Ninety-nine out of every hundred of the Misses of the school visited know more than we do about the
character of the woman in question."
Boston Public Library, Playbill Collection
2 April: Farewell Benefit and positively last performance but one of Lola Montez; same program as March
25
Boston Daily Mail, page 2.1
3 April: Mdlle Lola Montez in company with an Archbishop and a "mercantile gentleman" visited yesterday
afternoon the House of Correction, where they were courteously received by Capt Robbins, and shown
through the different departments of that "model" establishment. The Countess instituted many inquiries
relative to the mode of treatment and employment in the various sections of that institution, and exhibited
no little judgment upon such matters. She expressed herself highly gratified with the visit. Capt Robbins
also seemed highly pleased with the discrimination, skill, and inquisitiveness manifested by the Countess,
relative to the internal affairs and management of that receptacle of human weakness. It may be proper in
this connection for the benefit of souls(?) of the Olive Branch, Pilot, etc, etc, to state, that this visit was
endorsed by a member of the Common Council, in writing.
NY Herald 3 April 52
Editorial: M. Arpin, the French editor (Courrier des Etats Unis?), says he has "more than one curious
disclosure if Lola Montes sues for libel. ...(understand LM has placed in hands of counsel even more
curious disclosure of what Arpin did one day in Paris..)
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 11
Boston Daily Mail, page 2.1
5 April: Pharisees - The Sect of Pharisees are nowhere more numerous than in this Puritanical City. The
recent visit of the Countess of Landsfeld to the public schools caused a numerous and unmerited exertion of
their stiff necks. Sigma of the Transcript or "Stigma" as the Countess calls him, appears to be foremost
among those who are conspicuous in slandering a defenseless woman and accomplished artiste who spent
L500 per annum in advancing the cause of the liberal or republican party in Europe, and has been shot at
twice and once poisoned for her political sentiments, by agents of the Jesuits, and who, in addition to the
many other civil rights which she preserved to the people at Bavaria. E(sic)stablished a free boy and girl
school in that kingdom, and by her masterly attack upon the Society of Loyola caused the Democrats of
Paris to have a medal struck in her honor representing a woman with a broom with the significant motto
"Lola Castigat Loyola."
NY Herald 6 April 52 1.5
Boston: LM left here this afternoon, 5 April, for Lowell, from thence to Portland ME; reappears here on
Sat (10 April) and in about three weeks in "Drama of her Life."
Boston Daily Mail, page 2.4
6 April: Lola Montez left yesterday at 5 pm for Lowell, appeared there, again tonight, then on for one
performance at Portland. Saturday afternoon she dances a benefit for artists who suffered in the fire at the
Tremont Temple and has canceled her Salem performance to do the benefit. She goes to NYC in three
weeks to do a drama of her life.
Harvard TC, anonymous letter from unknown newspaper
from "Acorn" in Boston, dated 16 April but probably really 6 April based on content: Lola danced in
Lowell last evening to a full and fashionable house; from thence she goes to Portland for a few nights, then
to Hartford and New Haven.
Says that LM 's visits around Boston were being promoted by her
management.
Hartford Courant, page 3.1
12 April: Lola Montez - At the earnest solicitations of many of the citizens of Hartford and vicinity,
desirous of witnessing the imposing and elegant performances of this celebrated artiste, Madam Lola
Montez Countess of Landsfeld, and her splendid and accomplished ballet troupe, arrangements have been
made with her for one night only. American Hall, G.W.Smith, Principal Dancer and Ballet Master; Mons.
Cane, Comic Dancer and Gymnastic performer; J.K.Goodall, Leader of the Orchestra, 6 Ballerinas (no
review or comments)
Boston Daily Mail, page 2.2
12 April: A Peep Behind the Scenes - Rather a spicy performance, as we hear, came off on Saturday
evening behind the scenes of the Howard Athenaeum in which Madame la Comtesse de Landsfeld took an
active part, and which was not included in the small bills of either the afternoon or evening entertainment.
It seems that Lola, who entertains some sort of a grudge against Mme. de Marguerittes on account of a
historical article of hers in a New York paper, came to the theatre in the evening and attempted to attract
attention by walking into the Green Room and pretending to have lost a gold pin. Not the slightest notice,
however, being paid her by the well-bred persons there, she marched into the property room, of which she
took possession, surrounded by half a dozen of her retainers. The prompter, who entered the room for the
purpose of shutting off the gas (as the room was not wanted) was ordered to leave the premises in a hurry;
and upon attempting to insist upon the execution of his duty, was assailed in the grossest language, and
actually expelled, vi et armus, pull nosibus et scratch-face ibus by the celebrated danseuse. Having failed to
create any disturbance or to even in the slightest degree annoy the persons on the stage, Madame Lola
decamped with her posse, muttering curses not loud but deep, on all the world in general, and Mme de
Marguerittes in particular.
There may have been exaggeration in the complexion given to the affair by common report yesterday.
We are inclined to think there was. Mr. Parsons, the person assaulted by the Countess and a most amiable
gentleman, we hear does not intend to enter a complaint before the Police Court. Reporters will therefore
lose a peculiarly rich case.
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 12
Boston Herald, page 4.6
12 April: Story of LM and gas out, says ill feeling existed between her and Julie Margurittes
page 4.4: LM and her troupe have performed to crowded houses in Portland last week
Boston Daily Mail, page 2.1
13 April: repeats the Herald story of the fight
Boston Herald, page 2.4
13 April: Woloski is to play on two pianos at once, assisted by the Mendelsohn Glee Club; LM is to attend
Boston Daily Mail, page 2.5
14 April: Letter to the editor from Julie de Marguerittes, saying she has seen LM only twice, once on a
steamer on the Rhine, once on stage, she was in the Green Room when a woman in a bonnet and tightly
wrapped in a shawl came in saying she was looking for a gold pin. Didn't know until later that it was Lola
Montez. Did not see either Mr. Willis or Mr Davis
Boston Daily Mail, page 2.3
17 April: Alexander Ransom has three portraits of LM on display at his studio.
Boston Daily Mail, page 4.1
20 April: From the Hartford Times: Lola Montez made her appearance before a Hartford audience last
evening (April 14) accompanied by a half dozen musicians, a comic actor, and six young ballet girls. His
audience was pretty large, but there were very few ladies - a much less number, indeed, than we expected to
see.
We think every person in the house was disappointed. The affair was a humbug and Lola says she
despises humbugs. The public certainly do. Lola Montez is not a good dancer. She makes a very bad work
of it and does not even exercise good taste in selecting the "spider dance" as one of her performances; for
that makes her appear disgusting as well as a miserable danseuse. In it she flounces about like a stuck pig,
and clenches her short clothes, raising them nearly to her waist, while with a thin, scrawny leg, she keeps up
a constant thumping upon the stage, as if she was in a slight spasm.
The ballet girls danced with more ease and grace, and for those who are learning, acquitted themselves
well. One of them in particular appears to considerable advantage upon the stage. But Lola had better keep
away from the public boards.
After the performances were concluded, Lola met a New Haven Medium to get some spiritual rappings.
Quite a number of gentlemen called at her rooms to see the manifestations, but it was difficult to get any
until some of the "uncongenial" minds had left the room, after which we are told there were rappings.
Lola is a small sized woman, weighing perhaps 100 or 110 pounds, spare features, large, flashing black
eyes, with black hair, cheeks very red, probably painted. Her gestures are wide spread, awkward, hard. Her
step in the dance is far from being light or quick; and still she is limber bodied enough to twist and bound
beyond the ability of most folks.
NY Herald 27 April 52
Letter appears defending Jesuits from "French Catholic"
NY Herald 1 May 52 4.2
LM appears tonight at Broadway Theatre as Marquita. (Bowery Theatre playing "Lola Montes" = Pas de
Fascination)
Evening Journal (Albany) page 3.5
4 May: Jour de Carnival a Seville; Mr & Mrs John Drew
Evening Journal (Albany) page 3.5
5 May: Jour de Canival a Seville; Mr. & Mrs. John Drew
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 13
Evening Journal (Albany) page 3.5
6 May: LM in six dances in two separate pieces
Buffalo Daily Republic, 10 May 1852, page 2 col 5
Lola Montez and suite have taken rooms at the Mansion.
Buffalo Daily Courier, page 2.7
10 May: LM, GWSmith, and Cane in Jour de Carneval; LM as Marquita, GWS as Marj, Cane as Le Diable,
Characteristic festival dance with LM and GWS; at the Eagle Theater at the Corner of Main and Eagle
streets; LM also to dance Pas de Matelot
Buffalo Commercial Advertiser, 10 May 1852, page 2, col 3
...Lola is certainly one of the curiosities of the age, and has far less “bogus” about her than any of the
foreign celebrities by whom we have lately been visited. A woman who has held monarchs enslaved at her
feet, swayed rebellions, plucked a husband from the exclusive circle of the English aristocracy, been praised
and traduced in all quarters of the world, triumphed over enemies, horsewhipped detractors, and threatened
to shoot Jesuits and hostile Editors must needs be in homely Yankee phrase, “some pumpkins.”....
Moore, Lillian: GWSmith in Dance Index, page 112
10 May: just after LM and Smith dance in Buffalo, theatre burns down
Buffalo Daily Courier, page 2.7
11 May: program same as for 10 May BUT
page 2.5, Burning of the Eagle Theatre - At about a quarter past one o'clock this morning a fire broke out at
the Eagle Street Theatre and in an hour afterwards nothing was left standing except the walls.
The fire was first discovered in the Scene Room, a small room projecting from the Theatre, on the Main
Street side, and is supposed to have been the work of an incendiary, no fire or lights having been used there
during the day or evening.....great loss, costumes, no insurance.....Lola Montez, who played last evening,
took her wardrobe home and lost nothing. We understand that she was not pleased with her reception here,
and after the performance went to the box office, demanded her money and refused to play tonight. The
fire, of course, settles that. She and her entire troupe were on the walk near the theatre during the fire.
The low wooden buildings in the rear of the theatre were considerably damaged, but at the hour
which we go to press, 3. A.M., the fire is nearly extinguished. The night was clear and moderately warm,
just right for the firemen, who worked with common spirit.
Buffalo Morning Express, page 2.3
11 May: LM had a full house on her first night.
Buffalo Daily Republic, 12 May 1852, p.2. c.5
Lola Montez -- In consideration of an announcement in the afternoon papers, that this distingué would give
an entertainment for the benefit of those who lost wardrobes and other valuables at the late fire quite a large
assembly gathered at the Buffalo Theatre last evening. Many who were present on Monday evening and
who, too, had contracted a rather unfavorable impression of the abilities of the “Countess” as a danseuse,
were visible among the audience, and there were some doubts as to the manner in which she would be
received on this occasion, but on the appearance of M’lle Lola, she was welcomed with a perfect torrent of
applause, which was received on her part with most graceful bows and the sweetest smile of which she is
capable. Her “spider dance” was a pleasing affair and very peculiar, but indicative of great strength and
agility, as well as a goodly amount of grace, as much so as the dance itself would admit of. But her greatest
triumph of the evening was in the “pas de deux” which followed. this dance seemed made up of the most
difficult and intricate movements, through all of which she moved with the utmost ease and grace, and at the
close she was most rapturously encored. Throughout the whole piece she carried herself in the most
dignified manner and won from the audience most decided evidence of satisfaction....
We are pleased to notice that the enterprising managers, Messers. Carr & Warren, have engaged the
services of M’lle Lola for one more evening. She appears for the last time in Buffalo this evening, on which
occasion we hope to see a handsome demonstration on the part of our citizens.
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 14
Buffalo Daily Republic, 12 May 1852, p.3, c.1
Advertisement: Buffalo Theatre (date incorrectly given as May 11) Jour de Carneval, Betly the Tyrolienne,
in which Lola Montez introduces a Grand Hungarian Dance. (LM’s benefit)
Buffalo Daily Republic, 13 May 1852, page 2, col 5
Lola Montez and company perform tonight in Rochester under the direction of Carr & Warren.
Buffalo Daily Courier, page 2.5
13 May: Lola Montez danced with great spirit last evening and a better house than she had the night before,
and her performances were received with great applause. (They had moved to the Buffalo Theatre, which
had its entrance on Washington St.)
Buffalo Daily Courier, page 2.3
13 May: The Buffalo Theatre was formerly the "Museum." The second night of LM was her benefit.
Buffalo Commercial Advertiser, 13 May 1852, page 2 col 2
Lola Montez had lodgings at the Delavan House while in Albany but the arrangements of a cold water
tavern do not appear to have impressed her pleasantly. Writing to a friend in New York, she said: I will
never stop at a “Temperance House” again. It contains nothing but bed-bugs and Bibles.”
Buffalo Daily Republic, 14 May 1852, page 2, col 5
Lola Montez performs in Cleveland on Tuesday next.
Buffalo Daily Republic, 15 May 1852, page 2, col 5
The Rochester folks have all gone crazy after Lola Montez. We should not be surprised to hear of their
circulating a petition asking her to take up residence among them. The Advertiser says -- Apart from all the
associations of her political career, she is one of the best artists in America, and is the most “perfectly”
formed woman now in existence.
This coincides some with the Syracuse Standard’s notion of her proportions. In his opinion, “she
is too big in the wrong place.” What queer tastes some folks do have.
Buffalo Daily Republic, 17 May 1852, page 2, col 5
Lola Montez and troupe returned to New York on Saturday evening and play the Broadway tomorrow
evening. We understand her troupe would not consent to go any farther west, and consequently compelled
her to return to New York. she seems to be sustaining her character pretty well. A person in Rochester
used insulting language to her and she struck him and had it not been for a gentleman a row would have
ensued.
Missouri Republican, 22 May 52 (clipping at NYPL Lincoln Center)
LM writes to friend in NYC from Albany "I will never stop at a Temperance House again. It contains
nothing but bedbugs and Bibles.
BSB LA 39 Plötz to Ludwig
13 May: letter begging 200 florins, which he needs soon. Somewhere he has a letter from LM from the old
days where she wrote, "heureuese que je suis de me savoir aimee du roi Louis, qui est non seulement le
prince le plus celebre de l'Europe, mais aussi l'homme le plus noble et le plus aimable que j'ai jamais
connu."
BSB LA 39 Wendlend to Ludwig
14 May: Forwards clippings from Boston Bee of March 30?? (No. 126) page 2, Boston Transcript of 27
March
Courrier des Etats Unis (NYC) page 2.2-3
15 May: After Dujarier, LM got involved with Mme. Azam
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 15
Courrier des Etats Unis (NYC) page 2.5
19 May: LM has danced at Albany, Buffalo, Rochester; ......dans la voie que la comtesse de Landsfeldt suit
maintenant, elle ne pouvait s'imposer une plus rude penitence que de se jouer elle-meme.
NY Herald 20 May 52
LM greeted on the 18th by large and enthusiastic crowd
NYPL Lincoln Center notes, no source
22 May: LM has volunteered for the benefit for Kate Horn on Wednesday
The Sun (NYC) Section III, page 5.3, 18 April 1897
"A Meteor of Old New York:" mostly inaccurate article, but states that the author of "LM in B" was Pray,
which could be true
Harvard TC, unidentified clipping from New Orleans?????
A play called Lola Montez in Bavaria has made a great hit at the Broadway Theatre, New York. The
Mirror says the heroine, who enacts in it a portion of her own eventful history, won more applause in this
her first appearance upon the stage in a "speaking part" than by all the pirouettes and pigeon-wings she ever
perpetrated as a danseuse. The piece opens with a discussion among the habitues of the Opera of the new
danseuse (Lola Montez) who is turning the heads of the Bavarians by the witchery of her beauty. Presently
the King, who is smitten as badly as the students, appears in company with his Prime Minister, a Jesuit; and
although affairs of state are pressed upon his attention, he can think of nothing, or talk of nothing, but the
beautiful dancing girl. He must see her, know her, and directly sends for her, in spite of the remonstrances
of his minister, D'Abel. When the royal invitation is received, Lola is hold a matinee surrounded by the
students, artists, and sprigs of nobility, with whom she is expressing herself very freely in regard to politics,
fashion, aristocracy, etc, etc. Of course, she appears as the champion of liberal sentiments - becomes a sort
of Goddess of Liberty among the students of Bavaria, who are soon organized into a band of devotees,
swearing allegiance to the beautiful dancing girl, as to the very queen of heads and hearts.
In her interview with the King, she treats him as a man, and boldly points out the dangers that surround
him - calls him the amiable tool in the hands of the Jesuit ministry; and implores him to give liberty and
happiness to his people. The King listens and promises to follow the advice of his charming councilor. In
the meantime, she demands the instant liberation of a poor artist who has been thrown into prison for some
trifling offense; and tells the "poor dear old Louis" he may kiss her hand, if he will straightaway sign an
order for the honest young man's liberation. The king complies. And now there is a hub-bub among the
court dames, who are scandalized by His Majesty's devotion to the little Moorish witch who has enslaved
him. As the piece progresses, the plot unfolds with increasing interest, the "situations" becoming more
dramatic and exciting. Lola is made a Countess and installed in a royal palace. She is presented at Court
and made the companion of the Queen. She kicks out the ministry, fans the flames of revolution, writes
proclamations, mingles in the fight like another Maid of Orleans, and finally becomes a fugitive, not from
justice, but from the tyranny of the Jesuits. The closing scenes are thrillingly effective; and, as we are
assured, are true to history. Lola speaks and acts her part as naturally as if she were rehearsing it for the
first time in real life; and evidently feels the vividness of the original performance.
NY Herald 26 May 52
Says LM in Bavaria is splendid; suggests one of the female dancers be instructed to represent a male
dancer.
Playbill, NYPL Lincoln Center:
LM in Bavaria, Second Performance, 26 May, Broadway Theatre, Fenno as Baron von Poppenheim, Barry
as King, Conway as D'Abel
NY Herald 27 May 52 8
LM in B crowded by highly respectable audiences
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 16
Harvard TC, Playbills
Broadway Theatre/ Thursday, May 27, 1852
Third time, last appearance but two in New York City until close of her numerous engagements at the
Western Theatres
Lola Montez in Bavaria, with new scenery by Mr. Heister/ Louis = Mr. Barry, D'Abel = Conway
NY Herald 29 May 52
"LM's last performance; going to Cincinnati"
Daily News (Phila) page 3.2
31 May: Walnut Street theatre, LM in Bavaria + farce
NYPL, Manuscripts, Misc Papers:
Card: Admit Mr. Carruthers???? and friend to the Walnut Street Theatre this evening. Lola Montez 31st
May
NY Herald 1 June 52 1.6
LM acted to life before "crammed house" and enthusiastic applause; Adelina Patti to make debut
Daily News (Phila) page 3.2
1 June: LM in B + farce
Daily News (Phila) page 3.2
2 June: LM in B + farce
Daily News (Phila) page 3.2
3 June: LM in B + farce
BSB LA 39 Wendlend to Ludwig
3 June: The opinion here is that Heald has broken with her for good and no longer pays her. Clippings of
the battle of the Howard Hotel.
Daily News (Phila) page 3.2
4 June: LM in B + farce + dance (LM benefit)
Daily News (Phila) page 3.2
5 June: LM in B + farce + hornpipe
Sunday Dispatch (Phila) page 2.7
6 June: At the Walnut on Monday evening, Lola Montez made her appearance in a piece entitled "Lola
Montez in Bavaria," which is said to be founded upon incidents in her own life. The production of this
anomaly proves that the capacity of the stage has hitherto been very imperfectly understood. Theatres have
usually been the means of presenting virtue in attractive beauty, and of revealing vice in uncouth deformity.
Folly has been satirized in brilliant comedies and crime has been rendered odious in severe tragedies. The
school of the drama has always been considered on in which the lessons were of general, not of particular
application. In the last century, Foote and others succeeded in attracting notoriety by representations which
were personal and aimed specially at well known individuals. The actor then became a mimic, and only
succeeded in gaining applause when his imitation of the original was striking for its truth. But such
performances, though at first attractive by their novelty, soon became odious and disgusting. A better taste
prevailed, and the drama rose from the depths of caricature, malice, and enmity, to which unworthy
members of the profession had endeavored to degrade it. It ceased to be a particular means of holding up
persons to ridicule and contempt, and , under the guidance of a correct judgment, the efforts of performers
were directed toward making their delineations of general application.
But even in the licentious day of Foote and Macklin, the stage was never so low as to become the scene
of pure egotism. It was reserved for this age and for a first class theatre, to venture upon the experiment of
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 17
making the drama an instrument in which the performers may revel in self-adulation. Such was the effort of
last week, and such is the degradation to which the theater is condemned. A strolling woman, notorious
throughout Europe for her adventures, challenging attention not for her virtues, but for the scandal
associated with her name, came hither as a danseuse. Her previous character had but little to do with this.
She was personally no worse than many who have flourished upon the stage, the admired of thousands, and
the incidents of her former life had nothing to do with her abilities in the ballet. Critically considered, there
was nothing to be said in her favor. Her merits as a danseuse were too trifling to demand serious judgment,
and in most of the cities of the Union she failed. A new scheme was necessary to attract the audiences
which refused to come, despite previous notoriety attached to Lola Montez. The bold experiment has been
essayed of making the life of this adventurer the basis of a dramatic piece, and of placing her in the
principal part as the apologist for her own character, and the chief delineator in scenes designed to hold
herself up as a model of patriotism and virtue. In this extraordinary piece Lola Montez the actress,
endeavors to dissipate the supposed stains upon the character of Lola Montez, the woman, arguing as an
actress in favour of the character represented, and asking general applause for her self-denying, liberal, and
generous efforts in favor of liberty.
The production is a windy current of unsubstantial puffs, which endeavors to invalidate the force of the
old motto that "self praise is no recommendation," and to elevate the heroine to a dizzying height in public
esteem. It is an acted autobiography, and the circumstances under which it is represented authorise the
belief that it is a lying one. Against such a desecration of the stage as has been made in this piece, it is the
duty of every friend of drama to protest. When the theatre becomes a place in which male or female
adventurers - notorious only for the bad things which the world says of them - are permitted to "blow their
own trumpets," it may well be predicted that the entire downfall and unpopularity of dramatic amusements
must be the result. Furthermore, it will be an evil day for the theatre when it is a recognized right of an
"autobiographical actor" to attack any religion or political party, the tenants of which do not suit the ideas
of the personage who struts a brief hour in order to present a dramatic explanation of past life.
It is no credit to the Walnut that the exhibition of last week was permitted to occupy it six nights. The
result has been present profit, as the audacity of the thing attracted large audiences; but, in the sequel, the
reaction may exercise an effect upon the theatre which will be felt and regretted.
The piece is founded
altogether upon the adventures of Lola in Munich. It endeavors to dissipate the idea that she was the
mistress of King Louis, and presents her as an Admirer of Liberty - the Friend and Guardian Angel of the
King - the Wise Counselor of the aged monarch - the Supporter of Liberal Principles - and the final victim
of the intrigue of the Jesuits, whose power she, for a time, overturns.
As a dramatic production it is destitute of all merit, and presents various characters which are devoid of
interest or originality. It is due to Lola Montez to say, that she appeared in this production with a dare-devil
piquancy which, in any other character, would have been worthy of commendation. She was generally
natural in her dialogue, though occasionally too extravagant in gesticulations. Of the other characters,
nothing need be said. The performers were placed in painful positions, and walked through their parts
without spirit or feeling.
NY Herald 9 June 52
"Lola Montes" (Pas de Fascination) at Bowery; LM herself is in DC
GHA Wendlend NL 50/I Ludwig to Wendlend
14 June, Munich: Thanks for the clippings; let me know anything you hear about LM. Not the art of her
dancing but the memory of her stay in Bavaria brings her so much income, but I'm afraid that unfortunately
she won't be bringing much of it back across the sea with her, which would be, however, much to be desired
since she must invest her profits well.
Gold doesn't stay with her, and where she is must there must be luxury and pomp???? Try to find out
with certainty if Heald still pays her a monthly sum or if her settled a sum on her, and how much.
Daily Argus (Baltimore) page 3.2
15 June: Lola Montez in her new historical play attracted last evening one of the largest and finest
audiences it has been our pleasure to behold for a long time - Everything went off remarkably well and Mr.
Barton deserves the encouragement of our citizens for the able manner in which he has produced this piece.
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 18
The Sun (Baltimore) Page 2.1
15 June: tremendous audience; LM pretty well supported and her own sprightliness is quite entertaining;
Shepherd plays Ludwig; "Lola Montez" playing the same night at People's Theatre on Front
Street; Whig Convention at the Maryland Institute Building starts on the 16th
Daily Argus (Baltimore), page 3.2
16 June: House was "a perfect jam" last night.
The Sun (Baltimore) page 2.1
17 June: there is a rush to see LM
Daily Argus (Baltimore) page ??
17 June: Zapeateado on the bill and article calls it the "Spider Dance"
The Sun (Baltimore) Page 1.7
21 June: A Lola Montez Difficulty: The famous Countess of Landsfeld - Lola Montez - had a difficulty with
Mr. George Smith, an artiste who has been dancing with her at the Holliday Street Theatre, on Friday
evening, which caused some considerable excitement behind the "scenes" for a short time. The Countess
accused Mr. Smith with saying something derogatory to her character, which he, however, denied, and from
sharp words they came to a collision - the Countess threatening to slap his face and attempting to carry the
threat into execution. The difficulty was not one very easily explained to suit a local item, but it is stated to
have caused such a breach that the Countess refused to perform on Saturday evening, and the theatre was
consequently closed for the night.
NY Herald 26 June 52
LM will try to raise the level of the Bowery Theatre
NY Herald 2 July 52
Bowery Theatre crowded for LM in B; Astor Place Theatre not so crowded not that LM is drawing the
up-town gentry to the Bowery
NY Herald 3 July 52
Bowery merchants happy with crowd LM is drawing to their neighborhood
NY Herald 24 July 52
Mme. Zsulawszky, Kossuth's sister arrives with her husband
Buffalo Express 6 August 1852, p2c8
6 August: Un Jour de Carneval at Buffalo, a parody of LM, performed by Mrs. Wilkinson as LM
BSB LA 39 Papon to Ludwig
6 August Postmark Flavigne sur Ozerain: Monastere de Flavigny, Vendredi, 6 Aout 52: Dieu garde Votre
Royale Majete! Sire, I am a novitiate in the Dominican order in France. He who was in the world
Monsieur de Papon is now Frere Antoine. .....asks for forgiveness...I have put your letters and the stuff to
that other person in a thing sealed five times and somebody can pick it up for you at M. Blanciere,
Batignolles by Paris, St. Therese 18. I will be happy if Your Majesty appreciates appropriately and accepts
this step......
Buffalo Express 7 August 1852, p3c1
7 August. Theatre. Mrs. Wilkinson plays Lola Montez to the life in “Un Jour de Carneval.” Her illustration
is so faithful that we may reasonably expect to see her smoking a cigarette and perchance rushing the box
office in a rage to blow up the managers because the public do not applaud her efforts as highly as she
applauds them herself. The burlesque is one of the best ever produced on the stage.
GHA Wendlend NL 50/I Ludwig to Wendlend
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 19
20 August, Ludwigshohe; For years I haven't heard anything of Auguste Papon, the producer of the
notorious but quickly faltering memoirs, but I received a letter from hi a few days ago where he tells me he
has become a Dominican monk, asks for forgiveness........ Here's the power of attorney he gave. Please pick
up these things for me and send them to Munich, where I will be in mid-September. ......Do you hear
anything of LM? Are the newspapers silent about her? Does anyone have an idea where she is and what
she's up to? It's best if she stays on the other side of the ocean. PS Of course, the letters will be sent
without being unsealed.
BSB LA 39 Wendlend to Ludwig
22 August: Thinks LM got a fixed sum from Heald to clear all obligations.
BSB LA 39 Wendlend to Ludwig
24 August: Papon is passing over the letters via M. Blanchere in Batignolles. A receipt (in Papon's
hand???) with Ludwig's endorsement to Wendlend to pick up the letters with Wendlend's receipt of 24
August
BSB LA 39 Wendlend to Ludwig
25 August: Clipping about Lola Montez in Bavaria; When I went to pick up Papon's package they wanted
money
BSB LA 39 Papon to Ludwig
6 Sept: Monastery of Flavigne; As you requested, I am sending the thing to Wendlend so he can pick up the
letters. When I left Paris, I burning the remaining copies of the book and the rest of the manuscript (for
which I was offered a big contract). And now, do liberally what you judge best! May God protect and
inspire you! I have given everything to God and I don't regret it. As highly placed as kings are, my father
taught me they are nothing more than the first gentlemen of their kingdoms.
Et noblesse oblige, Sire........
Buffalo Express 15 September 1852, p.3, c.1
Lola Montez has presented a beautiful banner to the “Pick Club” of New York and has been elected an
honorary member in consequence. She may now be considered the queen of clubs, and, doubtless, they will
make a great card of her.
Boston Daily Mail, page 1.1
16 September: Begins with Chapter 2, serializing translation of Le Pays articles, apparently. Continues on
18 September 1.1 and 21 Sept 1.1, 22 Sept 1.1, 23 Sept 1.1, 24 Sept 1.1, 25 Sept 1.1, 27 Sept 1.1, 28 Sept
1.1, etc
Boston Herald, page 4.5
21 September: The house was literally packed last night. The Countess was greeted with much applause.
Boston Daily Mail, page 2.2
21 September:....a crowded and fashionable house last night. The kid gloves and the fantastics being well
represented, while the gallery counted up to full five hundred. Indeed, the theatre presented quite an
imposing spectacle; certainly gratifying to the fair countess. Lola Montez has evidently improved in many
respects, professionally, since her former visit to Boston, and if the play fairly represents her adventures in
Bavaria, she may be proud of a career that has so allied her destiny to fame.
Boston Public Library, Playbill collection
Henry Willard, manager; Robert Jones, Stage Manager; Tues. Evening, 21 September 52, Second night of
the engagement of Lola Montez; Lola Montez in Bavaria: Ludwig - Mr. Williams, D'Abel - Mr. Hind
Boston Daily Mail, page 2.4
23 September: Lola Montez remains quietly at the American House, having totally repudiated the crowd of
suckers and bores that so constantly annoyed her on her last visit to Boston.page 2.5 The Countess of
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 20
Landsfeld in aspiring from a danseuse to the position of an actress is but keeping up with the "progress of
the age;" and she deserves credit for her perseverance and laudable ambition. Few who have been bred to
the "sock and buskin" know more about stage business or exercise a more ready grace than she does. Her
capacity seems as varied and versatile as her life has been eventful and adventurous.
Boston Daily Mail, page ???
24 September: Anna Sinclair opens at the Eagle Theatre in the farce "Lola Montez"
Boston Daily Mail, page 2.2
25 September: article about LM
page 2.3...a densely crowded fashionable house...her delineation of her own character is masterly...the play
being an illustration of her own adventures. How she may succeed in other parts remains to be seen; but we
have our fears she will not be as successful, for Lola Montez is no imitator. She is an original character,
strongly mental, nervous and vivid as the lightning
Boston Daily Mail, page 2.4
28 September: Charlotte Corday "well and effectively personated by the Countess"
Boston Public Library, Playbill Collection (also in Harvard TC)
Howard Athenaeum, Henry E. Willard, Lessee and Manager (LM's Manager in 1857); Benefit and last
appearance of Lola Montez, 1 October 52; Acts 2 & 3 of Charlotte Corday plus Maritana; Tomorrow,
positively last appearance of Lola Montez, at matinee
Boston Herald, page 2.4
1 October: Trotting race between bay mare named Lola Montez and a sorrel horse named Ossian Dodge.
LM wins the heats.
Boston Daily Mail, page 4.1
2 October: Houses the last week were good but not densely crowded; Charlotte Corday was specially
written for LM. The personation of the heroine by the Countess was credible, although not critically
faultless. Her conception of the character exceeded the power of her voice to portray it. We think her
talents better adapted to comedy than tragedy, her figure being too fragile and her voice lacking force and
volume. The latter, however, may be materially improved by cultivation. Certain it is, she is a woman of
extraordinary capacity, possessing a keen perception and most active intellect, and considering the term of
her novitiate in the profession, she succeeded in her delineations beyond our expectations. Maritana, or
Maid of Saragossa, was badly put upon the stage. It was a drag throughout no less mortifying to the
company than ridiculous to the audience. To do the Countess justice, we believe that had the play been
properly rehearsed, she would have excelled in "Maritania." To be sure, she was perfect enough in her own
part, but those who were not confused and disconcerted her.
Daily Pennsylvanian (Phila) page 2.5
12 October: Full and fashionable audience; the "Spider Dance" is a novelty and must be seen to be
appreciated
Daily Pennsylvanian (Phila) page 2.5
13 October: Monday was sold out
Daily Pennsylvanian (Phila) page 3.6
17 October: Lola Montez has created quite a sensation at the Chestnut Street Theatre with her new drama.
She certainly has exhibited great power as an actress and considering the fact that it is the second time she
has ever taken a part in any drama, it is extraordinary.
Sunday Dispatch (Phila) page 2.7
17 October: At the Chestnut on Monday evening Lola Montez made her appearance in the egotistical mass
of nonsense entitled Lola Montez in Bavaria. The sublime impudence in which this play was conceived was
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 21
well carried out by the artiste. The audience resorted to the theatre to see the Countess of Landsfeld, and
probably they were afforded a better insight into the real character of the woman than if she had appeared in
an imaginary role. The stupidity of the piece would be insufferable were it not that the vagaries of Lola
herself keep the audience up to the proper degree of attention. It is much to be regretted that such a drama
should be permitted on any stage. It is a vile compound of balderdash aimed at a particular sect. It
endeavors to scandalise the Jesuits while it raises the virtuous heroine to the eminence of Joan of Arc and
deifies her as the goddess of freedom and chastity. The piece is a disgrace to the stage, and nothing but a
desire to acquire filthy lucre, no matter what the means, could have sanctioned its admission into any decent
theatre.
On Thursday evening a new piece entitled Charlotte Corday was produced. It was written by
H.J.Conway, an actor at the Broadway Theatre in New York City, and is a very original specimen of a
historically fictitious melodramatic play. The time is that of the French Revolution, and several historical
personages figure in the piece in strange attitudes and situations. The plot is hardly worth sketching. The
heroine, of course, is Charlotte Corday, whose character was performed by Mlle Lola Montez. Several
proscribed Girondists help the plot, and many Jacobins also assist in the development. The leading motif of
the action is the delineation of incidents which lead to the assassination of Marat. With these are woven the
desire of Herbert to obtain possession of the person of Julie de Franqueville, a young girl, ostensibly for
Marat, but really for himself. Julie is persecuted in various ways but manages to receive sufficient
protection until the last act of the play, when she is nominally condemned to death, but is really intended to
be delivered to Herbert. Charlotte Corday then protects her and requests that herself and Julie may be
executed together. The author has made a great point of this, but Charlotte is guillotined first and the
curtain immediately falls without waiting for the execution of Julie, so that the audience is left in doubt
whether Herbert is victorious at the last.
The generous author has given to the heroine, Charlotte, a variety of lovers exceeding the general
number usually inflicted on beautiful women. Henri de Franqueville loves her to distraction; Adam Lux, a
young artist, is enamoured of her to desperation; Nero Wax, a cobbler of Caen admires her beyond
description; Chevaux Legard, an advocate, turns Girondist on her account; Ballaud Varens is so
disconsolate that he soon makes his exit and does not come back; Barraroux, Rebaud, Petion, and Louvet,
have a very high opinion of her, and even Marat bows to the influence of her charms the moment he beholds
her. The only character of note who is apparently insensible to her charms is Herbert, who is engrossed by
the pursuit of Julie but nevertheless admits that Charlotte is interesting.
The melodramatic absurdities of the piece are glaring. In one scene a mob of Jacobins who are rushing
upon Henri and Julie to kill them with uplifted axes and clubs, and pikes prepared to thrust are
instantaneously arrested by the distant sound of the Marseillaise played by the bands of the army; their arms
relax, their weapons fall, and they sneak off the stage leaving their intended victims unharmed - a very
pretty piece of improbability. In the fourth act the burial of Marat is attended by a solemn cortege headed
by a priest - another example of poetical license. In the last act the audience are treated to a view of an
execution by the guillotine. The knife fell secundum arten, and the executioner perfected the climax of a
ridiculous play by holding up a canvas effigy of the head of Charlotte, which caused what would have
otherwise been a disgusting finale to assume the style of broad burlesque.
In the character of Charlotte Corday, Mlle Montez presented the first favorable opportunity of judging
her dramatic talent which has been afforded the theatrical audiences in this city. The result has not been
such as will advance her claims to histrionic honors. Her style of elocution is very unnatural. She
emphasizes every third or fourth word with energy, and slides over those which are intermediate with
scarcely fair enunciation. This gives to her delivery a sing-song monotony which is unnatural and affected.
There was no spirit about her delineation. She was not near as interesting as in "Lola Montez in Bavaria."
The latter role was rendered amusing by the abandon which characterizes it. John Drew played Nero Wax
On several evenings during the week Mlle Montez executed "La Zapateado," a Spanish dance. Its only
point was a glaring indecency which surpassed any previous exhibition on the stage. If any other artiste had
attempted it, she would have been hissed from the boards. As it was Lola Montez, the audience probably
bore with it because they expected nothing better.
Daily Pennsylvanian (Phila) page 2.4
19 October: a perfect triumph for the Countess of Landsfeld
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 22
Daily Pennsylvanian (Phila) page 3.7
20 October: premiere tonight of a new local burletta, Lola Montez in New York, full of fun, racy and with
hard hit. Characters were BenIt, McGreedy, Kussuth, and Mr. Penniman. Maritana, the co-feature, was
written expressly for her; she plays the title role and a gypsy girl.
Daily Pennsylvanian (Phila) page 3.7
22 October: LM benefit including Spider Dance
Daily Pennsylvanian (Phila) page 3.6
23 October: engagement has been flattering for LM and lucrative for the management
Sunday Dispatch (Phila) page 2.5
24 October: The manager of the Chestnut has during the week, been engaged in the experiment of
endeavoring to ascertain how much indecency the public will stand without hissing a performer off the
stage. The "Spider Dance" was performed by Mlle Lola Montez on Monday and Tuesday evenings, to the
ribald delight of sensual roues, and the disgust of all persons of refinement. In absolute obscenity, this
dance exceeds anything with which an audience has yet been insulted in this city. All who witnessed it were
astonished, not at the meritriciousness of the woman - because she is past all hope - but because it was
almost incredible that the manager of any place of public amusement should allow such an exhibition to be
brought before a respectable audience. There were several indications of a storm, which should have
warned the management what was to be expected. On one or two evenings persons rose up in the parquet
and denounced the woman and her shamelessness. They were hurried away by the police. Gentlemen who
had unfortunately brought ladies to the theater got up in the middle of the exhibition and hurried their fair
charges from the building.
On Friday evening some persons did hiss in the upper part of the theater and the danseuse, with raised
finger, defied them. There were not but few ladies in the house. The parquet was crowded by the same
class of persons who would fill the front seats at an exhibition of model artists. Of course, they were
gratified at the display, and a very unanimous encore was the consequence. Lola came out, bowed, picked
up a bouquet, and retired. The applause continued in the most uproarious style. The artiste then appeared
and made a speech in which she referred to the disapprobation which was expressed - said she had
performed the dance "before all the courts of Europe" and that she "danced it to her Spanish nature," and
"according to the Spanish custom" - evidently supposing these assertions to be sufficient apology for any
violation of modesty which she might indulge........
The piece entitled "Maritana, the Maid of Saragossa" in which Lola Montez appeared, is a poor affair.
The leading idea is that the hero is an irretrievable coward, and the heroine is a brave girl. The hero, being
chosen as one of the defenders of Saragossa against the French is afraid to discharge his duty, and the
heroine, assuming his uniform, fights for him. As usual in such cases, this generosity makes a brave man of
the dastard, and, fired with emulation, he himself does valiant things. The piece is not worthy of
notice.....Lola Montez did better in Maritana than in Charlotte Corday. John Drew was good as
Padrille........A piece called Lola Montez in New York was performed toward the close of the week. It is a
hash of gross personalities upon the editors of New York papers, and possesses neither wit nor sense.
Courrier des Etats Unis, page 2.2
29 October: On a appris ces jours ci a Paris le mort de comte Medem, gentilhomme moscovite, tue en duel
a Pise par M.Kalergi, son compatriote, le meme qui a ete compromis il y a trois ans dans une
affaire de detournement de mineure. C'est au jeu a Florence que la querelle avait pris naissance. Le comte
Medem, qui n'avait que trente ans, a recu une balle dans le coeur.
Gazette des Tribunaux (Paris), 14 November 52, page 1099.3
Comte Medem shot through the heart in a duel with M. Kalergi near Pisa
19 November: LM farce playing in Charleston
Charleston Mercury, page 2.6,7
DOCUMENTARY CHONOLOGY FOR 1852 ** PAGE 23
30 November: LM arrived yesterday on the USM Steamship Marion from NYC after 55 hours underway,
accompanied by a servant and her manager, J. Jones.
Card from the passengers of the Marion praising the performance of the infant drummer includes signatures
of Marie, Countess of Landsfeld, Lola Montes; and John Jones, agent for Lola Montes.
Charleston Mercury, page 3.2
6 December: ad for LM in Maritana at Charleston Theatre
Charleston Daily Courier, page 2.6
6 December: ad for LM in Maritana at Charleston Theatre
Charleston Daily Courier, page 2.2
7 December: Maritana repeated; house well attended last night
Charleston Mercury page 3.2
8 December: Maritana
Charleston Daily Courier, page 2.6
8 December: Maritana plus Zapeateado or Spider Dance
Charleston Mercury, page 3.2
9 December: LM in B
Charleston Mercury, page 2.7
10 December: LM in B plus Zapeateado or the Spider Dance
BSB LA 39 Cetto to Ludwig
15 Dec 52 London
Have forwarded your enclosure of the 6th of this month. Have heard nothing of Heald. He may have
returned and remarried; he could do so, since his marriage was void.
Mobile Daily Advertiser, page 3.1
17 December: LM to make her debut here Monday
Mobile Daily Advertiser, page 3.1
21 December: LM arrived on the Louisa at 7 pm yesterday. She took rooms at the new Battle House.
page 3.3, LM and maid arrive on the Louisa, other passengers listed
page 3.1 Theater emptied as if by magic when it was announced that LM would not appear until tomorrow
Mobile Daily Advertiser, page 3.2
22 December: at Battle House, LM and maid
page 3.1 The Theatre last night was not only full, but running over from parquette to gallery. In fact there
must have been a considerable number there who never got more than a glimpse of the cause of the
excitement - the fair danseuse Lola Montez. For ourselves.......The utmost enthusiasm was displayed, in
which, by-the-by, the ladies (and there were a large number present) appeared fully to participate.
Mobile Daily Advertiser, page 3.1
23 December: Mlle. Lola Montez made her second appearance last evening before a house crowded to
excess, the beauty and fashion of the city being well represented in the dress circle. Mlle Lola's style of
dancing is very different from that which is general on the stage; there is nothing voluptuous, dreamy, or
shadowy about it - on the contrary, it is all vigor, energy and expression, or, in other words, is characterized
by the same strong features that have rendered her career, as a woman, so remarkable.
In the spider dance, her animation and flexibility of countenance and grace of motion were especially
noticeable. As an artiste, we by no means class her first, though her style is so peculiar as to render a
comparison with others impossible. Her features are petite and expressive, and her form symmetrical -
DOCUMENTARY CHRONOLOGY FOR 1852 ** PAGE 24
when animated she is more than pretty though not beautiful, her principal power lying in her eyes, which are
clear, deeply blue, and in her mouth, which is one of the most expressive of the mind's thought we ever saw.
Altogether, her tout ensemble is striking, and well calculated to win admiration. Last evening she again
succeeded in winning the enthusiastic applause of the spectators.
The sailor dance was warmly encored, and on her reappearance she was greeted with great enthusiasm.
The repetition was, in our view, more artistic and pleasing than the first representation.
Tonight will be played her historical drama "Lola Montez in Bavaria" in which she not only appears as
an artiste, but as the delineator of incidents in her own life, about which a contrariety of opinion has been
entertained, but which have exercised no little influence in the political affairs of Europe. We are assured
the piece to be represented tonight is veritable history, arranged in dramatic style, and that so far as
practicable, the very language of the persons represented is retained. Of course, much interest will be felt to
learn the prominent events connected with the life of this remarkable woman. We say remarkable, for
whatever may be her faults or her merits, it cannot be denied that she possesses rare intellectual
endowments, shows a wonderful familiarity with the politics of the times on both sides of the Atlantic and,
added to no ordinary personal charms, has an indomitable energy that tempers not with obstacles and pauses
not at dangers.
Mobile Daily Advertiser, page 3.1
24 December: Tuesday evening's jam was repeated last night, every seat and standing place in the house
being occupied. The dress circle presented quite a brilliant appearance, from the number of the fair sex who
graced the house on this occasion by their presence.
Both time and space prevent us at this point from doing more at this moment than recording that the play
"Lola Montez in Bavaria" went off most successfully. It possesses many merits per se, and the dialogue
abounds with good points that appeal directly to the feelings of the audience, and last night won their
frequent applause. Of Mlle Lola's personification of herself, we can only say it was perfect. One needs but
to see her play the part on the boards of a theatre to be convinced that she must have played it on the world's
stage. Her whole appearance and manner were charmingly natural, and we believe such to be the verdict of
all present.......In part, so difficult a five act play was never more successfully performed on its first
occasion. At its close, the fair heroine was called before the curtain to receive the plaudits of the most
enthusiastic audience ever assembled in the house.
Mobile Daily Advertiser, page 2.4
25 December: The Theatre was again crowded last night (though not so uncomfortably as the evening
previous) to witness the repetition of "Lola Montez in Bavaria." On second seeing, it decidedly improves in
favor. Some of the characters are perfect gems in their way, as representations of certain classes of society;
for instance, what more perfect impersonation is there on the stage of a puffed up, vain, superstitious,
egotistical exquisite and aristocrat than Baron von Poppenheim? or again, of a Jesuitical minister than
D'Abel. Moreover, many of the scenes are admirable for their effectiveness; we instance that of the duel
between Newsbaumber and Poppenheim as an illustration, the by-play in which is hardly excelled by any
piece we at the moment recollect.......the play is interesting in a political sense.....it really happened......But
when it is also recollected that the principal part in it is played by the veritable actress herself, that it is not
the simulator but the individual we behold, it is not surprising that a crowd flocked to see it.
Mobile Daily Advertiser, page 3.1
29 December: Her appearance in the first piece was the signal for general applause. The dance La
Sevigliana was loudly encored, and after its repetition, the Countess, evidently laboring under considerable
agitation, delivered a neat and pertinent address, which we give in her own words as nearly as we can
remember: Ladies and Gentlemen: I must say a few words before I leave you. Mobile is the first city in the
South I have visited and your kind and generous support will probably give me a great success in your
glorious South. I now say farewell to you. In a short time, when over the wide waters, far distant away (for
I know not soon where I may be) when you have perhaps forgotten me, believe me, I shall recollect you,
and your kindness with heartfelt gratitude and pleasure. Farewell.