traordinary in its power, mellowness, so to
speak, and its sweetness.

Thus endowed, it was not possible, in the nature of things, that he
should remain only a singer in private; and so, at Sansom-street Hall,
Philadelphia, in 1854, he was induced to appear with the "Black Swan"
as her pupil.

Although it was not at this concert that he made his first public
"hit," as it is called, yet the press of Philadelphia spoke of his
performances on that occasion in the most flattering terms, and called
for a repetition of the concert. This was given, our subject meeting
with still greater success. At this time, one of the critics, in
commenting on the voice and style of singing of Mr. Bowers, called him
the "colored Mario." Considering the almost if not quite peerless
position then held in the musical world by the distinguished Italian
tenor, Mario, this was a most strikingly favorable comparison. But our
artist was so modest as to doubt that he merited such high praise. The
press, however, generally persisted in styling him the "colored
Mario," the "American Mario," &c.; and by these sobriquets he is most
known to-day.

Col. Wood, once the manager of the Cincinnati Museum, hearing of the
remarkable singing qualities of Mr. Bowers, came to Philadelphia to
hear him. He was so much pleased, that he entered into an engagement
with him to make a concert tour of New-York State and the Canadas.
This was in company with Miss Sarah Taylor Greenfield [Transcriber's
Note: Elizabeth Taylor Greenfield], the famous songstress. The great
vocal ability as well as the novelty formed by the complexions of this
couple produced quite a sensation, and secured for them great success
wherever they appeared.

During this tour Col. Wood wished Mr. Bowers to appear under the
title of the "_Indian_ Mario," and again under that of the "_African_
Mario." He withheld his consent to the use of either of these names,
but adopted that of "Mareo." This he has since retained as his
professional cognomen.

Mr. Bowers was induced to engage in public performances more for the
purpose of demonstrating by them the capacity of colored persons to
take rank in music with the most highly cultured of the fairer race
than for that of making a mere personal display of his highly-rated
musical abilities, and for the attainment of the enjoyment which they
would naturally be supposed to afford him.

Writing to a friend, he thus speaks of the principle that governed
hi