HANDY CIRCUS FAMILY - HANDY CIRCUS TROUPE

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Chapter v (5)
Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.


Lions and Lion-tamers -Manchester Jack - Van Amburgh - Carter's Feats - What is a Tiger? - Lion-driving and Tiger-fighting - Van Amburgh and the Duke of Wellington - Vaulting Competition between Price and North - Burning of the Amphitheatre - Death of Ducrow - Equestrian Performances at the Surrey Theatre - Travelling Circuses - Wells and Miller - Thomas Cooke -Van Amburgh - Edwin Hughes - Williaim Batty - Pablo Fanque.
HE Must have been a bold man who first undertook to tame and train a lion. It has been jocosely remarked that he must have been a courageous man who first ventured to eat an oyster; but a very different degree of courage must have been possessed by the man who first ventured upon familiarities with the tawny monarch of the African forests. The distinction is attributed to Hanno, the Carthaginian general; but the first public exhibition of trained lions was given in the Amphitheatre at Rome, where Mark Antony, seated in a car, with a lady by his side, drove a pair of lions round the arena. But we must come down to modern times for the first exhibition of tamed and trained lions and tigers in this country. Van Amburgh is generally credited with the distinction of having been the first lion-tamer of modern times; but I remember seeing, when a very small boy, the keeper of the lions in Wombwell's menagerie enter the cage of a fine old lion, Nero, and sit on the animal's back, open his mouth, &c. As this was more than forty years ago, the performer must have been 'Manchester Jack,’ who was enacting the part of 'lion king' in Wombwell's menagerie when Van Amburgh, an American of Dutch descent, arrived in England with his trained lions, tigers, and leopards.
It has been said that arrangements were made for a trial of skill and daring between the American and Manchester Jack, and that it was to have taken place at Southampton, but fell through in consequence of Van Amburgh showing the white feather. The story seems improbable, for Van Amburgh's daring in his performances has never been exceeded.
' Were you ever afraid?' the Duke of Wellington once asked him.
'The first time I am afraid, your Grace,’ replied the lion-tamer, 'or that I fancy my pupils are no longer afraid of me, I shall retire from the wild beast line.'
After having been killed in the newspapers half a dozen times, his back broken twice, and his head once bitten off by a tiger, Van did retire, undevoured, and died quietly in his bed about five years ago. Manchester Jack also retired from the profession, and kept an inn at Taunton for many years afterwards, dying in 1865.
Van Amburgh and his trained animals were engaged by Ducrow and West during the season of 1838 at Astley's, and proved a great attraction. Then came Carter, another lion-tamer, who appeared with his animals, in a drama specially written for them, as Afghar, a lion-tamer, in which part he drove a lion in harness and maintained a mimic fight with an animal called in the bills a tiger. I have not been able to ascertain whether this animal was really a tiger, a point upon which doubt arises from the fact of Carter's collection being announced as containing a fine 'Brazilian tiger,’ and from the application of the name by travellers and colonists imperfectly acquainted with zoology to every feline animal which is larger than a cat, and does not possess a mane. The beautiful striped animal properly called a tiger has a very circumscribed range, being found only in the hot regions of Asia, south of the Himalayan mountains and east of the Indus. But the South African colonists call the leopard a tiger, and many travellers in the tropical regions of America speak of the jaguar by that name. Carter's ‘Brazilian tiger' was, of course, a jaguar; but his collection may have contained a veritable tiger, and it may have been the latter animal that he engaged in mimic conflict with on the stage. Tigers are not usually sufficiently docile to be trusted in such performances; but the possibility of their being so trained is proved by the fact that I saw a struggle between a man and a tiger, about five and thirty years ago, in a small show pitched on a piece of waste ground at Norwood. It was a rather tame affair, however, and, coupled with the fact that the tiger was the sole representative of the 'group of trained animals' announced in the bills, caused my boyish disappointment to vent itself, as I passed out of the show, in a remark on the discrepancy between the promise and the performance. 'What can you expect for a penny?' was the rejoinder of the shabby woman who acted as money-taker; and, though I felt that I ought to have seen at least another animal, I passed on, silently wondering how a tiger and several human beings could be fed upon the scanty receipts of a little penny show; for there was a drama produced, the hero of which was an English traveller, who underwent harrowing adventures among savages and wild beasts in Central Africa.
The ex-lion king, whose reminiscences and experiences were recorded three years ago in a London morning journal, computes the number of lions in this country at about fifty; but this seems erroneous, as there were ten in Fairgrieve's menagerie, and probably as many in each of the other two shows into which Wombwell's collection was divided at his death, five in Manders's, and five attached to Sanger's circus, besides those in Hilton's, Day's, and other menageries, Bell and Myers's circus, and the Zoological Gardens of London, Bristol, and Manchester. The greater number of them have been bred in cages. These are cheaper than the imported lions, but seldom attain so large a size as the latter. Jamrach, of Ratcliffe Highway, is the agent through whom most of the imported lions are procured. He has agents abroad, and also buys from captains and stewards of ships, who sometimes bring home wild animals as a commercial speculation. As I lay claim to no practical knowledge of the business of lion-taming and lion-training, I quote here what the 'ex-lion king' said on the subject two years ago, in preference to writing at random about it.
'The lion-tamer,' we are told, 'likes to get his beasts as young as he can, because then they are more easily brought into order, although, no doubt, there are many instances where a full-grown forest lion has been trained to high perfection. The lion-tamer begins by taking the feeding of them into his own hands, and so gets them to know him. He commences feeding them from the outside of the den, then ventures inside to one at a time, always carefully keeping his face to the animal, and avoiding any violence, which is a mistake whenever it can be avoided, as it rouses the dormant devil in the beasts. Getting to handle the lion, the tamer begins by stroking him down the back, gradually working up to the head, which he begins to scratch, and the lion, which, like a cat, likes friction, begins to rub his head against the hand. When this familiarity is well established, a board is handed in to the trainer, which be places across the den, and teaches the lion to jump over it, using a whip with a thong, but not for the purpose of punishment. Gradually this board is heightened, the lion jumping over it at every stage; and then come the hoops, &c., held on the top of the board to quicken the beast's understanding. To teach the animal to jump over the trainer, the latter stoops alongside the board, so that when the lion clears one he clears the other, and half a dozen lessons are ordinarily about sufficient to teach this. To get a lion to lie down, and allow the tamer to stand on him, is more difficult. It is done by flicking the beast over the back with a small tickling whip, and at the same time pressing him down with one hand. By raising his head, and taking hold of the nostril with the right hand, and the under lip and lower jaw with the left, the lion, by this pressure on the nostril and lip, loses greatly the power of his jaws, so that a man can pull them open, and put his head inside the beast's mouth, the feat with which Van Amburgh's name was so much associated. The only danger is, lest the animal should raise one of its fore-paws, and stick his talons in; and if he does, the tamer must stand fast for his life till he has shifted the paw.'
This is a fool-hardy feat, in which a considerable amount of risk is incurred, without exhibiting any intelligence, grace, or docility on the part of the lion. But the concluding bit of advice is noteworthy, as lions and tigers, like cats, sometimes extend their claws without intending any mischief, and many injuries from them might be prevented, by presence of mind on the part of the exhibitor.
Stickney re-appeared at Astley's during the season of Van Amburgh and Carter, and the vaulting performances of Price were supplemented by the engagement of an American vaulter named North. Between these two famous vaulters a competition took place in the circle, when the unprecedented number of one hundred and twenty somersaults were turned by each man.
Ducrow's stud appeared, for a short season, in the summer of 1841, at Vauxhall Gardens, returning to the Amphitheatre for the winter. His last production was the Dumb Man of Manchester, and the performance of the principal character in that drama was one of the most successful efforts as a pantomimist which he ever exhibited. The conflagration by which the Amphitheatre was destroyed for the third time gave such a shock to his system that mental aberration and physical paralysis resulted, and he died on the 27th of January 1842. His remains were interred in Kensal Green cemetery, where the monument erected to his memory is one of the most remarkable objects which arrest the eye of the visitor.
The performers at Astley's, biped and quadruped, found a temporary refuge, after the conflagration, at the Surrey theatre, which, having been originally an amphitheatre, admitted of ready adaptation to circus requirements. The dramatic company being retained, a melo-drama was first presented, and then the orchestra and a portion of the benches of the pit were removed, and a ring formed in its place. During the performance of the scenes in the circle the orchestra and the displaced spectators occupied seats amphitheatrically arranged on the stage. The original status was then restored and the performances concluded with the popular hippo-dramatic spectacle of Mazeppa.
As the taste for equestrian and acrobatic performances became more widely diffused, amphitheatres were erected at Liverpool by Copeland, and at Bristol, Birmingham, and Sheffield by James Ryan; while the travelling circuses increased yearly in number and repute. Samwell's was still travelling, but the rapid increase of wealth and population in the northern towns, consequent upon the development of manufactures, had induced its proprietor to leave the southern circuit, and pitch his show near the great industrial hives of Yorkshire and Lancashire.
New names are presented to us in Wells and Miller, in whose circus, then located at Wakefield, Wallett first assumed the distinctive designation of 'the Shakspearian Jester.' Tom Barry, afterwards so well known in connection with Astley's, was then clowning in Samwell's circus. Wells and Miller soon dissolved their partnership, and the former started a separate concern, opening a very fine circus at Dewsbury.
Thomas Cooke, after a professional tour in the United States, returned to England and opened at Hull, afterwards visiting the principal towns in the northern and midland counties. Van Amburgh also, obtaining a partner with capital, started a circus with his performing lions, tigers, and leopards as an adjunct of no inconsiderable attractiveness. One of John Clarke's daughters was his principal equestrienne, and he engaged Wallett as clown.
Edwin Hughes brought out one of the largest establishments of the kind which, at that time, had ever been seen; but he could not make headway against William Batty, who now came into notice, and to ample means joined the indomitable energy and enterprise of Astley and Ducrow. We find Batty in 1836 at Nottingham, with a company which included Pablo Fanque, a negro rope-dancer, whose real name was William Darby; Powell and Polaski, for principal equestrians; Mulligan, as head vaulter; and Dewhurst, as chief clown, with capacities for every branch of the profession, being an admirable vaulter and acrobat, and a good rider. The stud was as good as the company, and included a pair of zebras, a wild ass, and an elephant, all of which, with a contempt of local colouring worthy of Ducrow, Batty introduced on the stage in Mazeppa!
Batty did not limit his movements to any part of the United Kingdom. In 1838 we find him at Newcastle and Edinburgh, and in 1840 at Portsmouth and Southampton. Some changes had been made in the company, of which James Newsome, now proprietor of one of the best of the provincial circuses, Lavater Lee, the vaulter, and Plege, the French rope-dancer, were prominent members. At the time when Astley's was burnt for the third time, Batty's circus was in Dublin, where a good stroke of business had been done. On hearing of the conflagration, Batty started for London by the next steamer, made arrangements for the immediate rebuilding of the Amphitheatre, and returned to Dublin. The receipts were beginning to decline there, and, pending the completion of the new Amphitheatre in Westminster Road, Batty resolved to construct a temporary circus at Oxford. To that city he accordingly proceeded, leaving the circus under the management of Wallett, who, after travelling for several years with Cooke, and two years with Van Amburgh, had joined Batty in Dublin. On the termination of the season in the Irish capital, Wallett took the company and the stud to Liverpool, and, as the circus at Oxford was not yet ready for opening, arranged with Copeland for twelve nights at the Amphitheatre. This engagement, being made without the knowledge and sanction of Batty, caused a warm dispute between the latter and Wallett, which did not, however, have the immediate effect of terminating the clown's engagement.
Wallett tells a humorous story of Pablo Fanque, with whom he became intimately acquainted, and who used to fish in the Isis. The black was a very successful angler, and would pull the golden chub, the silvery roach, and the bearded barbel out of the river by the dozen when Oxonian disciples of Walton could not get a nibble. One intelligent undergraduate came to the conclusion that the circus man's success must be due to his dusky complexion, and astonished his brothers of the rod by appearing one morning on the bank of the stream with a face suggestive of the surmise that he must have been playing Othello or Zanga at some private theatricals the preceding night, and have gone to bed, as Thornton - well known in the annals of provincial theatres at the beginning of the present century - once did, without wiping the, black off. The Oxonian caught no more fish, however, than he had done before.
While Batty's circus was still at Oxford, Pablo Fanque terminated his engagement, and started a circus on his own account. Wallett, always a rolling stone, joined him, and they proceeded to the north together, opening at Wakefield, where, for the present, we must leave them.


http://www.circushistory.org/Frost/Frost5.htm

 

Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter VI.
Conversion of the Lambeth Baths into a Circus - Garlick and the Wild Beasts - Batty's Company at the Surrey - White Conduit Gardens - Re-opening of Astley's - Batty's Circus on its Travels - Batty and the Sussex Justices - Equestrianism at the Lyceum - Lions and Lion-tamers at Astley's - Franconi's Circus at Cremorne Gardens - An Elephant on the Tight-rope - The Art of Balancing - Franconi's Company at Drury Lane - Van Amburgh at Astley's - The Black Tiger - Pablo Fanque - Rivalry of Wallett and Barry - Wallett's Circus - Junction with Franconi's.
WHILE waiting for the reconstruction of Astley's, Batty obtained possession of the Lambeth Baths, a spacious building in the immediate vicinity of the Amphitheatre, and converted them, without loss of time, into a circus, which he was enabled to open at the close of November, 1841. Though the process of conversion had been hastily carried out, the accommodation and decorations left little to be desired; and, as Dewhurst, the clown, observed on the opening night, 'it, like a punch-bowl, looked all the better for being full.'
'The performances last night,’ said a critic, 'were multifarious. First, there was the phenomenon rider, the volant Mr T. Lee, who, while riding one or more fiery steeds, made "extraordinary and wonderful leaps," as the play-bill says, round the arena, and whose sinewy and symmetrical form, and untiring activity, drew forth the admiration of the audience. The clown, however, thought proper to pass a criticism upon his leg, declaring it was like a bad candle, having more cotton than fat. Next came Herr Ludovic's "celebrated extravaganza of Jim Crow and his granny," in which the old trick of carrying two faces under one hat is ludicrously exemplified. Mr Walker followed, with his wonderful feats on the flying rope and his celebratedtourbillions, in which he proved himself to be anything but a walker. He was speedily displaced by M. Leonard, the great French rider, on two fleet steeds, who was miraculously adventurous, - " hazarding contusion of neck and spine." A group of ponies was then introduced, and delighted the spectators with a variety of amusing and sagacious tricks; they fought, they leaped over poles, and through hoops, they sat down and stood up at command, they wore cocked hats and cloaks, lace caps and mantles, and supped with the clowns on oaten pies, sitting at the table with all proper decorum; they fetched and carried, they played at leap-frog, they marched, they danced, they walked on their hind legs, they bowed, and they went down on their knees, for here that was an accomplishment, and not a detriment, to any nag.
'A company of vaulters next performed some daring leaps and threw somersaults ad infinitum backwards or forwards, in rapid succession. After this Miss O'Donnell performed some pretty evolutions on horseback. Wonderful feats of "ponderosity" were next displayed by M. Lavater Lee, who balanced a feather and a plank forty feet long with equal dexterity, and by various jugglings frequently placed his physiognomy in jeopardy. These performances being over there came, "for the first time, a novel introduction, replete with new and splendid dresses, properties, and state carriage drawn by four diminutive steeds," in which the whole juvenile company appeared, entitled The Little Glass Slipper. The foundation of this pantomime is old; but it was produced with new faces last night, and elicited loud and universal approbation. Some of the performers were scarcely able to toddle, but the acting of the whole was unique, and deserving of all the praise it received. The dresses and arrangements were superlative in their style and effect. A series of gymnastics and equestrian exhibitions, with a new piece, called The Wanderers of Hohonor and the Sifans, wound up the entertainments of the evening, which were interspersed with the witticisms and waggeries of two very clever clowns, one of whom is a good punster, and the other a supple posture-master and a capital performer on the penny trumpet.'
Early in 1842, the programme was varied by a romantic spectacle called The Council of Clermont, devised for the introduction of a group of trained lions, tigers, and leopards, brought from Batty's menagerie, accompanied by their performer, Garlick. The spectacle comprised a triumphal cavalcade of Frankish warriors, mediaeval sports in rejoicing for victory, the tricks of a Greek captive's horse, and the adventures of the Greek among the wild beasts to whom he is thrown to be devoured. It had a very brief run, however, and was succeeded by the elephant, and subsequently by a tournament, to which was given the anachronical title of The Eglinton Tournament, or The Lists of Ashby! Shakspeare, it may be said, has given, as the locality of the scene of an incident in one of his plays, 'a sea-port in Bohemia;' but the making the Eglinton tournament take place at Ashby-de-la-Zouch is an anachronism as glaring as the incongruity of elephants and zebras in a Cossack camp.
The Olympic Arena, as Batty's new circus was called, was the scene of some feats too remarkable to be omitted from this record. Walker, on one occasion, sustained the weight of six men, and held six cart-wheels suspended, while hanging by the feet from slings; but it must be remarked that he held only two of the wheels with his hands, the others being attached in pairs to his feet, which were secured in the slings, so that the weight fell chiefly upon the rope to which the slings were attached. More remarkable feats were performed by Lavater Lee on his benefit night, when he vaulted over fourteen horses, threw a dozen half-hundred weights over his head, bent backward over a chair, and in that position lifted a bar of iron weighing a hundred pounds, threw a back somersault on a horse going at full speed, and turned twenty-one forward somersaults, without the aid of a spring-board.
Dewhurst, the clown, must be allowed to speak for himself in the bill which he issued for his benefit, and which, as regards his own performances, was as follows:
'This is the night to see DEWHURST'S long and LOFTY JUMPS, without the assistance of a springboard : - 1. Over a garter 14 feet high. 2. Over a man standing on a horse lengthways. 3. Through a hoop of fire two feet in diameter. 4. Through a circle of pointed daggers. 5. Over 10 horses. 6. Through six balloons. 7. Over three horses, one standing on the backs of the other two. And finally, to crown his extraordinary efforts, he will leap through a MILITARY DRUM, and over a REAL POSTCHAISE AND PAIR OF HORSES.
'During the evening will be introduced several NEW ACTS OF HORSEMANSHIP, during the intervals of which Mr DEWHURST will perform many surprising Feats; amongst the number, he will tie his body in a complete knot. After which he will walk on his hands, and carry in his mouth two fifty-six pound weights; in finis, it will be a GRAND BANQUET NIGHT!! More entertainments than all the Aldermen in London can swallow. Dishes to please Old and Young, Father and Son - Daughter and Mother, Sister and Brother - Fat and Lean, Dirty and Clean - Short and Small, Big and Tall - Wise and Witty, Ugly and Pretty - Good and Bad, Simple or Sad - All may enjoy, and plenty to pick and choose among - Curious Speeches, Mild Observations, Strange Questions, and Ugly Answers - Shakspeare reversed, and Milton with a glass eye - Conundrums, Riddles, Charades, Enigmas, and Problems - With a variety of real Nonsensical Nonsense, too innumerable to mention-hem!
'Mr DEWHURST Will on this night dance an ORIGINAL MOCK CACHOUCA, in a style nothing like MADAME TAGLIONI. Mr D. will likewise dance the CRACOVIENNE, as originally danced by Mademoiselle FANNY ELSLER, at her Majesty's Theatre, Italian Opera House. He will also burlesque a favourite dance of MADAME CELESTE; and conclude with a New Comic Lancashire HORNPIPE IN CLOGS.'
Batty removed his company and stud at Witsuntide to the Surrey, for a short season, Dewhurst taking another benefit, on which occasion he issued the following characteristic appeal:
'On this particular occasion Mr Dewhurst's tongue will be placed on a swivel in the centre, and black-leaded at both ends, to bring laughing into fashion.
I wonder how the people can
Call me Mr Merryman!
Worn are my clothes almost out
By being whipped and knocked about;
Torn is my face in twenty places
By stretching wide to make grimaces.
My worthy cits,
Now is it fit
That you should sit,
Gallanting it,
The whole kit,
In box and pit,
To see me hit,
Boxed, cuffed, and smit,
Sham dead as a nit,
And laugh at it,
Till your sides split?
There you sit,
Though requisite
To rack my wit
These rhymes to knit,
Which I have writ
To bring the folks to a house well lit,
To fill the house before we quit,
For a great attraction all admit
Will be on Dewhurst's benefit!
From the Surrey, Batty and his company removed to White Conduit Gardens, where a temporary circus was erected for the summer season, and in early autumn to the theatre at Brighton. Astley's was re-opened shortly afterwards with a powerful company and a numerous stud of beautiful and well-trained horses. Batty was himself a capital rider; Newsome, his articled pupil, was already a very promising equestrian; and the company was now joined by the celebrated Stickney, who was a great attraction during several seasons. A bull-fight was one of the special features of the programme of 1842-3, a horse being, as on other occasions when the conflicts of the Corrida de los Toros have been represented in the arena, trained to play the part of the bull.
While performing at Brighton, Batty was convicted of having performed a pantomime in a place unlicensed for theatrical performances, whereby he had incurred a penalty of L50 under an Act of the reign of George II., which has been exercised on several occasions to the vexation and loss of the circus proprietors against whom it has been enforced. Batty appealed against the conviction, and engaged counsel, by whom it was elicited from the witnesses that the dialogue did not exceed fourteen lines, and was merely an introduction to an equestrian and acrobatic entertainment without scenery. It was argued for the appellant that the spectacle which had been represented was neither a pantomime nor a stage play; and that if an entertainment without a stage or scenery was a 'stage play,’ the well-known tailor's ride to Brentford was a stage play, and, if dialogue alone made an entertainment a stage play, the clown must not crack jokes with the ringmaster, nor Punch appeal to the drummer outside his temple. Counsel reminded the bench that the Lord Chamberlain's jurisdiction did not extend to the Surrey side of the Thames, and that magistrates had power to grant licenses only at a distance of twenty miles from the metropolis; so that Astley's, the Surrey, the Victoria, and the Bower infringed with impunity the Act under which Batty had been convicted. The conviction was quashed, but the result of the appeal has not prevented other circus proprietors from being similarly molested in other parts of the country.
During the summer of 1843, Batty's company performed in the Victoria Gardens, at Norwich, where the feats of Masotta, ‘the dare-devil rider,' from Franconi's, formed a striking feature of the programme. He was famous for leaping on and off the horse, from side to side, and backward and forward, while the animal was in full career. Plege, the rope-dancer, and Kemp, the pole performer, were also in the company.
On the company and stud returning to Astley's in the autumn, the stirring events of the war in Afghanistan were embodied in one of those patriotic and military spectacles for which the establishment was famous. The national pulse did not beat so ardently at beat of drum and call of trumpet as it had done a quarter of a century before, however, and the run of the piece was proportionately short. It was followed by a spectacular play founded upon incidents connected with the battle of Worcester; a romantic equestrian drama, illustrative of the final struggle between the Spaniards and the Moors; and, towards the close of the season, by the ever-attractive Mazeppa.
Young Newsome, who displayed considerable ability as an equestrian pantomimist, was a great attraction in the circle, which now began to be enlivened by the humour of Tom Barry, who continued to be principal clown at this establishment for several years. Among the more remarkable of the ring performances during this season, other than equestrian, were the feats of one of the Henglers on the corde volante, and Kemp's tricks on the 'magic pole.'
Equestrian entertainments were given in 1844, for a short season, at the Lyceum Theatre; and, in the absence of rivalry, attracted good houses. At Astley's, new aspirants to fame and popular favour appeared in Plege, the French rope-dancer, and Germani, a clever equestrian juggler, whose performance seems to have somewhat resembled that given a few years ago at the Holborn Amphitheatre by Agouste, with the difference that Germani performed his feats on the back of a horse. He juggled with balls, oranges, and knives alternately, and then with a marble, which he caught in the neck of a bottle while the horse was in full career.
Carter, the lion-tamer, was also engaged towards the close of the season; and, his re-appearance having shown that the exhibition of trained lions and tigers was still attractive, another of the profession, named White, was engaged by Batty in 1845, with a group of performing lions, tigers, and leopards. White, however, never produced the sensation created by the performances of Van Amburgh and Carter. The equestrianism was a very strong feature of the programme this season, those accomplished riders, John Bridges and Alfred Cooke, being engaged, while Batty and Newsome were pillars of strength in themselves. Cooke's company appeared this year at the Standard, and was succeeded in the two following years by Tournaire's and Columbia's, but equestrian performances did not attract there.
In 1846, Simpson, host of the Albion Tavern, opposite Drury Lane. Theatre, opened Cremorne Gardens, for which he engaged the company and stud of the famous Parisian circus of Franconi.
At Astley's, in this year, Newsome revived Ducrow's feat of riding six horses at once, in an act called the Post-boy of Antwerp; and a German equestrian named Hinne, with his daughter Pauline, were engaged. Young Newsome and Mdlle Hinne sometimes rode together in double acts, and in this manner an acquaintance sprang up between them which, becoming tenderer as it progressed, eventually ripened into marriage.
It was during the season of 1846 that the extraordinary spectacle was witnessed at Astley's of an elephant on the tight-rope. It is not more difficult, however, for an elephant, or any other beast, to balance itself upon a stretched rope than for a man to do so; the real difficulty is in inducing the animal to mount the rope. The art of balancing consists in the maintenance of the centre of gravity, which, it may be explained, is that point in any body, animate or inanimate, upon or about which it balances itself, or remains in a state of equilibrium in any position. In any regular-shaped body, whether round or angular, provided its density is uniform through all its parts, the centre of gravity is the centre of the body; but in an irregular-shaped body, or a combination of two or more bodies, the centre of gravity is the point at which they balance each other. If we place any regular-shaped body on a table, it will remain stationary, or in a state of rest, provided an imaginary line drawn from its centre of gravity, and passing downward in a direction perpendicular to the table, falls within its base. But, if the centre of gravity is in a part of the body above any part of the table that is outside the base, the object will topple over, and assume some position in which the centre of gravity will be within the base. Take, for example, a five-sided block of wood, and place it upon the table. If the five sides are each of the same superficies, it will stand upon either of them; but if they are unequal, and it is so placed that the centre of gravity is above a part of the table that is outside the face upon which you attempt to make it stand, it will fall down.
There is a little toy which I remember having seen when a child, and which, as it illustrates the natural law upon which the art of balancing depends, I will here describe. It was made of elder pith, fashioned and coloured into a rough resemblance to the human figure, and weighted with a piece of lead, like the half of a small bullet, which was attached to its feet with glue. The centre of gravity was, consequently, so low that, in whatever position the figure might be placed, it immediately assumed the perpendicular, and could be kept in any other only by holding it. Now, if the feet of a human being were as much heavier than the head and trunk, as the lead in this toy was heavier than the pith, we should never be in any danger of losing our balance; and an infant might be allowed to make its first essay in walking as soon as its legs were strong enough to support it, without being in any danger of a fall. But the head is, in proportion to its bulk, much heavier than the trunk; and the breadth of the trunk considerably exceeds that of the feet, which constitute the base. The balance is, therefore, easily lost; because a stumble throws the centre of gravity beyond the base.
Though the maintenance of the centre of gravity is rendered more difficult in proportion to the height to which it is raised above the base, as my younger readers may have found when constructing a house of cards, this is not the case when any disturbance of the equilibrium can be counteracted immediately, as in the case of a stick balanced on the tip of the finger. A stick three or four feet long is more easily balanced on the finger than one much shorter, because the tendency to topple over can be counteracted by the movement of the finger in the direction in which it leans, so as to maintain the centre of gravity. Those who make an experiment of this kind for the first time will be apt to find that the balancing of a stick or a broom upon the finger is difficult, owing to the smallness of the base in proportion to the height of the centre of gravity, unless the eyes are directed towards the top. The stick is at rest at the base, and any deviation from the perpendicular must commence at the upper extremity. Keep your eye on the top, and you can balance a scaffold-pole or a ladder, if you can sustain the weight. Whatever difficulty there was in the feat of balancing a ladder, to the top of which a small donkey was attached, as exhibited in my juvenile days by an itinerating performer, - whence the saying, ‘Twopence more, and up goes the donkey!' - was due entirely to the weight of the animal; because, if it was properly attached to the ladder, the centre of gravity would be in precisely the same situation as if the ladder alone had to be balanced.
In the animal world, the centre of gravity is invariably so placed as to produce an exact equilibrium and harmony of parts. Every animal furnished with legs is balanced upon them; so that in man the centre of gravity is the crown of the head. The reader may test this by leaning forward or laterally, with the arms by the side, and the legs straight, when a tendency to fall will be experienced, which can be counteracted only by extending an arm or a leg in the opposite direction. The art of balancing the body in extraordinary situations, as exemplified in the feats of rope-walkers and gymnasts, depends, therefore, on the same natural law as that which enables us to balance a stick upon the finger. The centre of gravity must be kept perpendicular to the rope or bar, any tendency to sway to the right or left being corrected by the arms, or by the balancing-pole, if preferred, by performers on the rope.
I have dwelt upon this subject a little after the manner of a lecturer, because so many of the feats performed in the arena of a circus depend upon the natural law which I have endeavoured to explain, and many of my readers, who have witnessed them, without being able to account for them, may like to know something of the rationale. It may be asked, and the question is a very pertinent one, why do not equestrians fall in performing feats of horsemanship in a standing position, in which, as the horse careers round the ring, they lean inward? This phenomenon is due to the counterpoise which, in the case of bodies in a state of rapid motion, the centrifugal force presents to the weight of the body.
Centrifugal force, it must be explained, is the tendency which bodies have to fly off in a straight line from motion round a centre; and the power which prevents bodies from flying off, and draws them towards a centre, is called centripetal force. All bodies moving in a circle are constantly acted upon by these opposing forces, as may be seen by attaching one end of a piece of string to a ball, and the other to a stick driven into the ground. If the ball is thrown horizontally, with the string in a state of tension, it will fly round the stick; but, if it becomes disengaged from the string, the centrifugal force, or its tendency to fly off, will cause it to proceed in a straight line from the point at which the separation is effected.
Let us now see how these forces operate in the case of the riders in a circus. The equestrian leans inward so much that, if he were to stand still in that position, he would inevitably fall off the horse; but the centrifugal force, which has a tendency to impel him outward from the circle, or in a straight line of motion, sustains him, and he careers onward safely and gracefully. The tendency of the centrifugal force to impel him outward is counteracted by the inward leaning, while it forms an invisible support to the overhanging body. It will be observed also that the horse assumes the same counteracting Posture; and a horse quickly turning a corner does the same.
Resuming our record of circus performances, we find Pablo Fanque at Astley's in 1847, with a wonderful trained horse, Plege again appearing on the tight-rope, and Le Fort, 'the sprite of the pole,’ in a novel and clever gymnastic performance. The political events of which Paris was the scene in the following year caused the managers of Franconi's Cirque to transfer their company and stud to Drury Lane Theatre, so that London had two circuses open at the same time for the first time since the days of Astley and Hughes.
John Powell appeared during this season at Astley's, and an additional attraction was provided in Van Amburgh's trained animals, to which there was now added a black tiger, a rare variety, and one which had never been exhibited in a state of docility before. It was introduced in the drama of theWandering Jew, a story which was then creating a great sensation all over Europe; and Van Amburgh personated the beast-tamer, Morok, through whose instrumentality the Jesuits endeavour to delay the old soldier, Dagobert, on his journey to Paris, by exposing his horse to the fangs of a ferocious black panther.
It was in this year, it may here be remarked, that Sir Edwin Landseer's great picture of Van Amburgh in the midst of his beasts was exhibited at the Royal Academy, where it attracted as much attention as the originals had done at Astley's.
Pablo Fanque's circus had, in the mean time, moved from Wakefield to Leeds, where a catastrophe occurred which has, unfortunately, had too many parallels in the annals of travelling circuses. On a benefit night in March, 1848, the circus was so crowded that the gallery fell, and Pablo's wife was killed, and Wallett's wife and several other persons were more or less injured. Wallett then joined Ryan's circus, which, however, was on its last legs; bailiffs were in possession, and its declining fortunes were brought to a climax by a 'strike' of the band. At this crisis Wallett had the good fortune to be engaged for Astley's, where a keen rivalry soon ensued between him and Barry, who claimed the choice of acts in the ring, in his exercise of which Wallett was not disposed to acquiesce. Thompson, the manager, took the same view as the latter of the equality of position of the two clowns; and Barry, in consequence, refused to perform, unless the choice of acts was conceded to him. A very attractive act was in rehearsal at this time, in which John Dale was to appear as an Arab, with a highly-trained horse, and Barry as a rollicking Irishman. As Wallett had attended all the rehearsals he was as capable of taking this part as the other clown was, and, on Barry failing to appear, he was requested by Thompson to take the part which had been assigned to his rival. Wallett complied, and enacted the part of Barney Brallaghan with complete success. Barry thereupon retired, and for many years afterwards kept a public-house in the immediate vicinity of the theatre.
Thompson was succeeded in the management by William Broadfoot, the brother-in-law of Ducrow, whom he resembled very much in disposition and temper. One day, during the rehearsal of a military spectacle, a cannon ball, which was among the stage properties, was thrown at him, which so enraged him that he offered a reward of L2 for information as to the person by whom it had been thrown, the hand which had impelled the missile being unknown at least to himself. There was a fine of ten shillings for practical joking during rehearsals, but the reward left a wide margin for its payment, and tempted Walled to acknowledge that he was the offender. Broadfoot paid the reward, and Wallett paid the fine, afterwards expending the balance of thirty shillings in a supper, shared with Ben Crowther, Tom Lee, and Harvey, the dancer.
There was another supper at Astley's which the parties did not find quite so pleasant. Batty produced an equestrian drama called the - Devil's Horse, in which Wallett had to play a subordinate part, one agreeable incident of which was the eating of a plate of soup. One night, James Harwood, the equestrian actor, intercepted the soup in transit, and refreshed himself with a portion of it, which so enraged Wallett that he broke the plate on the offender's head. By this assault he incurred the penalty of being mulcted of a week's salary, the means of evading which exercised his mind in an unusual degree. The expedient which he hit upon was the borrowing of ten pounds from the treasurer, George Francis, having obtained which he went his way rejoicing. He did not present himself at the treasury on the following Saturday; and Batty, meeting him on Monday morning, inquired the reason of his absence.
'I had no salary to receive,’ replied Wallett. 'I had borrowed ten pounds of Mr Francis in the week.'
‘Then your fine will be a set off against next week's salary,' observed Batty.
'Aren't you aware, sir,' rejoined Wallett, 'that the time I was engaged for expired on Saturday night?'
By this stratagem he escaped the payment of the fine; but his engagement was not renewed, and, having saved some money, he started a circus, and opened with it at Yarmouth. Business was very bad there, and he proceeded to Colchester, where part of the circus was blown down by a high wind, and this accident created an impression of insecurity which damaged his prospects in that town beyond repair. At Bury St Edmunds and Leicester he was equally unsuccessful, and determined to proceed northward. Nottingham afforded good houses, but Leeds was a failure, and at Huddersfield the gallery gave way, and the alarm created by the accident deterred persons from venturing into the circus afterwards. Franconi's company were doing good business at Manchester, in the Free Trade Hall, at this time; and Wallett, after two more experiments, at Burnley and Wigan, with continued ill fortune, effected an amalgamation with the French troupe. James Hernandez, one of the most accomplished equestrians who have ever entered the arena, made his debut at Manchester while the combined companies and studs were performing there, and proved so sterling an attraction that he was engaged for the following season at Astley's.
Crowther, who has been incidentally mentioned in connection with Wallett, married Miss Vincent, 'the acknowledged heroine of the domestic drama,' as she was styled in the Victoria bills. The union was not a happy one, though the cause of its infelicity never transpired. It was whispered about, however, that a prior attachment on Crowther's part to another lady had something to do with it; and there were many significant nods and winks, and grave shakings of the head, at the bar of the Victoria Tavern, and at the Rodney and the Pheasant, over the circumstance of his strange behaviour in the church at which he and the fair Eliza were married. The talk was, that the bride's position and worldly possessions had tempted him to break the word of promise he had plighted to another, and that compunction for his faithlessness was the cause of his strangeness of demeanour on the wedding-day, and of the domestic infelicity which it preluded. But nothing ever transpired to show that these rumours had any foundation in fact.

http://www.circushistory.org/Frost/Frost6.htm

 

omas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter VII.
Hengler's Circus - John and George Sanger - Managerial Anachronisms and Incongruities - James Hernandez - Eaton and Stone - Horses at Drury Lane - James Newsome - Howes and Cushing's Circus - George Sanger and the Fighting Lions - Crockett and the Lions at Astley's - The Lions at large - Hilton's Circus - Lion-queens - Miss Chapman - Macomo and the Fighting Tigers.
THE haze which envelopes the movements of travelling circuses prior to the time when they began to be recorded weekly in the Era cannot always be penetrated, even after the most diligent research. Circus proprietors are, as a rule, disposed to reticence upon the subject; and the bills of tenting establishments are seldom preserved, and would afford no information if they were, being printed without the names of the towns and the dates of the performances. I have been unable, therefore, to trace Hengler's and Sanger's circuses to their beginnings; but, having seen the former pitched many years ago in the fair-field, Croydon, I know that it was tenting long before its proprietor adopted the system of locating his establishment for some months together in a permanent building. Both Hengler's and Sanger's must have been travelling nearly a quarter of a century, and the career of both has been prosperous.
Indeed, the most successful men in the profession have been those who have lived from their infancy in the odour of the stables and the sawdust. Such a man was Ducrow, and such also are the Cookes, the Powells, the Newsomes, the Henglers, the Sangers, and, I believe, almost every man of note in the profession. They are not, as a rule, possessed of much education, which may account for the incongruities so frequently exhibited in the 'getting up' of equestrian spectacles, and the perplexities which so often meet the eye when the proprietor of a tenting circus parades in type the quadrupedal resources of his establishment.
I remember seeing a zebra in the Cossack camp in Mazeppa, and that, too, at Astley's; for neither Ducrow nor Batty, cared much for correctness of local colouring, if they could produce an effect by disregarding it. Lewis, when reminded of the incongruity of the introduction of a negro in a Northumbrian castle, in the supposed era of the Castle Spectre, replied that he did it for effect; and if an effect could have been produced by making his heroine blue, blue she should have been. The effect, however, is sometimes perplexity, rather than excitement, so far at least as the educated portion of the community is concerned.
I saw at Kingston, some years ago, immense placards announcing the coming of Sanger's circus, and informing the public that the stud included some Brazilian zebras, and the only specimen ever brought to Europe of the 'vedo, or Peruvian god-horse.' Every one who has read any work on natural history knows that the zebra is confined to Africa, and that the equine genus was unknown in America until the horses were introduced there by the Spaniards. Not having seen the animal, I am not in a position to say what the 'vedo' really is or was; but it is certain that the only beasts of burden possessed by the Peruvians before horses were introduced by their Spanish conquerors were the llama and the alpaca, which are more nearly allied to the sheep than to any animal of the pachydermatous class, to which the horse belongs.
Leaving these wandering circuses for a time, we must turn our attention for a little while to the permanent temples of equestrianism in the metropolis. James Hernandez made his appearance at Astley's during the season of 1849, in company with John Powell, John Bridges, and Hengler, the rope-dancer. Bridges exhibited a wonderful leaping act, and Powell's acts were also much admired; but the palm was awarded by public acclamation to Hernandez, whose backward jumps and feats on one leg elicited a furore of applause at every appearance. His success, and consequent gains, enabled him, on leaving Astley's, and in conjunction with two partners, Eaton and Stone, to form a stud, with which they opened on the classic boards of Drury Lane.
Among the company was an equestrian who appeared as Mdlle Ella, and whose graceful acts of equitation elicited almost as much applause as those of Hernandez, while the young artiste's charms of face and form were a never-ending theme of conversation and meditation for the thousands of admirers who nightly followed them round the ring with enraptured eyes. It was the same wherever Ella appeared, and great was the surprise and mortification of the young equestrian's admirers when it became known, several years afterwards, that the beautiful, the graceful, the accomplished Ella was not a woman, but a man! Ella is now a husband and a father.
James Newsome was also a member of the very talented company which Hernandez and his partners had brought together under the roof of Drury Lane. After completing his engagement with Batty, and entering into matrimonial obligations with Pauline Hinne, he had proceeded to Paris, where he applied himself earnestly to the art of which he soon became a leading master, namely, the breaking of horses in what is termed the haute ecole, then almost unknown in this country. The fame which he acquired in Paris procured him an engagement in Brussels, where he taught riding to the Guides, by whose officers he was presented, on leaving the Belgian capital, with a service of plate. From Brussels he proceeded to Berlin, of which city Madame Newsome is a native. There the famous English riding master added to his laurels by breaking a vicious horse named Mirza, belonging to Prince Frederick William (now heir to the imperial crown of Germany), who presented him with the animal, in recognition of his skill. It may here be added, that he had the honour, some years afterwards, of exhibiting his system of horse-breaking before the Prince of Wales and the Duke of Cambridge, by whom it was highly commended.
On the termination of their season at Drury Lane, Hernandez and his partners associated Newsome with themselves in the firm, and made a successful tour of the provinces. In the following season, however, Newsome separated from his partners, and started a well-appointed circus of his own. The distinctive features of his establishment are, that he breaks his horses himself - other circus proprietors, not having the advantage of himself, Batty, and Ducrow, of being trained in the profession, being compelled to hire horse-breakers; and that the performances are not given under a tent, set up for a couple of days only, and then removed to the next town, as in the case of most other circuses, but in buildings erected for the purpose in most of the large towns of the north of England, and permanently maintained.
The great Anglo-American circus of Howes and Cushing was added to the number of the circuses travelling in England and Scotland about this time. The strength of the company and stud, and the resources of the proprietors, threatening to render it a formidable rival to the English circuses, the Sangers were prompted by the spirit of competition to take a leaf from Batty's book, and introduce performing lions. The lions were obtained, and the appointment of 'lion king' was offered to a musician in the band, named Crockett, chiefly on account of his imposing appearance, he being a tall, handsome man, with a full beard. He had had no previous experience with wild beasts, but he was suffering from a pulmonary disease, which performing on a wind instrument aggravated, and the salary was tempting. So he accepted the appointment, and followed the profession literally till the day of his death. It is worthy of remark, as bearing on the causes of accidents with lions and tigers, that Crockett was a strictly sober man; and so also was the equally celebrated African lion-tamer, Macomo, who never drank any beverage stronger than coffee. Many anecdotes are current in circuses and menageries of the rare courage and coolness of both men.
One of Sanger's lions was so tame that it used to be taken from the cage to personate the British lion, lying at the feet of Mrs George Sanger, in the character of Britannia, in the cavalcades customary with tenting circuses when they enter a town, and which are professionally termed parades. One morning, when the circus had been pitched near Weymouth, the keepers, on going to the cage to take out this docile specimen of the leonine tribe, found the five lions fighting furiously with each other, their manes up, their talons out, their eyes flashing, and their shoulders and flanks bloody. Crockett and the keepers were afraid to enter. But George Sanger, taking a whip, entered the cage, beat the lions on one side, and the lioness, who was the object of their contention, on the other, and made a barrier between them of the boards which were quickly passed in to him for the purpose. This exciting affair did not prevent the lions from being taken into the ring on the conclusion of the equestrian performance, and put through their regular feats.
If Crockett temporarily lost his nerve on this occasion, it must be acknowledged that he exhibited it in a wonderful degree at the time when the lions got loose at Astley's. The beasts had arrived the night before from Edmonton, where Sanger's circus was at that time located. How they got loose is unknown, but it has been whispered, as a conjecture which was supposed not to be devoid of foundation, that one of the grooms liberated them in resentment of the fines by which he and his fellows were mulcted by Batty, and in the malicious hope that they would destroy the horses. Loose they were, however, and before Crockett, to whose lodging a messenger was sent in hot haste, could reach the theatre, one of the grooms was killed, and the lions were roaming about the auditorium. Crockett went amongst them alone, with only a switch in his hand, and in a few minutes he had safely caged the animals, without receiving a scratch.
These lions were afterwards sold by the Sangers to Howes and Cushing, when the latter were about to return to America, and Crockett accompanied them at a salary of L20 a week. He had been two years in the United States, when one day, while the circus was at Chicago, he fell down while passing from the dressing-room to the ring, and died on the spot. The Sangers possess lions at the present day, and one of them is so tame that, as I am informed, it is allowed to roam at large in their house, like a domestic tabby. This is probably the animal which, on the occasion of the Queen's thanksgiving visit to St Paul's, reclined at the feet of Mrs George Sanger, on a triumphal car, in the 'parade' with which the day was celebrated by the Sangers and their troupe.
While Crockett was still travelling with the Sangers, and to counterbalance the attractiveness of' his exhibitions, it was suggested to Joseph Hilton by James Lee, brother of the late Nelson Lee, that, the former's daughter should be 'brought out' in his circus as a 'lion queen.' The young lady was familiar with lions, another of the family being the proprietor of a menagerie, and she did not shrink from the distinction. She made her first public appearance with the lions at the fair, since suppressed, which used to be held annually on Stepney Green. The attractiveness of the spectacle was tempting to the proprietors of circuses and menageries, and the example was contagious. Edmunds, the proprietor of one of the three menageries into which Wombwell's famous collection was divided on the death of the original proprietor in 1850, formed a fine group of lions, tigers, and leopards, and Miss Chapman - now Mrs George Sanger - volunteered to perform with them as a rival to Miss Hilton.
Miss Chapman, who had the honour of appearing before the royal family at Windsor, had not long been before the public when a third 'lion-queen' appeared at another of the three menageries just referred to in the person of Helen Blight, the daughter of a musician in the band. The career of this young lady was a brief one, and its termination most shocking. She was performing with the animals at Greenwich fair one day, when a tiger exhibited some sullenness or waywardness, for which she very imprudently struck it with a riding whip which she carried. The infuriated beast immediately sprang upon her, with a hoarse roar, seized her by the throat and killed her before she could be rescued. This melancholy affair led to the prohibition of such performances by women; but the leading menageries have continued to have 'lion-kings' attached to them to this day.
Twenty years ago the lion-tamer of George Hilton's menagerie was Newsome, brother of the circus proprietor of that name; and on this performer throwing up his engagement at an hour's notice, owing to some dispute with the proprietor, a man named Strand, who travelled about to fairs with a gingerbread stall, volunteered to take his place. His qualifications for the profession were not equal to his own estimate of them, however, and James Lee, who was Hilton's manager, looked about him for his successor. One day, when the menagerie was at Greenwich fair, a powerful-looking negro accosted one of the musicians, saying that he was a sailor, just returned from a voyage, and would like to get employment about the beasts. The musician informed Manders, into whose hands the menagerie had just passed, and the negro was invited into the show. Manders liked the man's appearance, and at once agreed to give him an opportunity of displaying his qualifications for the leonine regality to which he aspired. The negro entered the lions' cage, and displayed so much courage and address in putting the animals through their performances that he was engaged forthwith; and the 'gingerbread king,’ as Strand was called by the showmen, lost his crown, receiving a week's notice of dismissal on the spot.
This black sailor was the performer who afterwards became famous far and wide by the name of Macomo. The daring displayed by him, and which has often caused the spectators to tremble for his safety, was without a parallel. 'Macomo,' says the ex-lion king, in the account before quoted, ‘was the most daring man among lions and tigers I ever saw.' Many stories of his exploits are told by showmen. One of the finest tigers ever imported into this country, and said to be the identical beast that escaped from Jamrach's possession, and killed a boy before it was recaptured, was purchased by Manders, and placed in a cage with another tiger. The two beasts soon began to fight, and were engaged in a furious conflict, when Macomo entered the cage, armed only with a whip, and attempted to separate them. Both the tigers immediately turned their fury upon him, and severely lacerated him with their sharp claws; but, covered with blood as he was, he continued to belabour them with the whip until they cowered before him, and knew him for their master. Then, with the assistance of the keepers, he succeeded in getting one of the tigers into another cage, and proceeded to bind up his wounds. This was not the only occasion on which Macomo received injuries, the scars of which he bore to his grave. Every one who witnessed his performances predicted for him a violent death. But, like Van Amburgh, like Crockett, he seemed to bear a charmed life; and he died a natural death towards the close of 1870.
http://www.circushistory.org/Frost/Frost7.htm

 

Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter VIII.
Pablo Fanque - James Cooke - Pablo Fanque and the Celestials - Ludicrous affair in the Glasgow Police-court - Batty's transactions with Pablo Fanque - The Liverpool Amphitheatre - John Clarke - William Cooke - Astley's - Fitzball and the Supers - Batty's Hippodrome - Vauxhall Gardens - Ginnett's Circus - TheAlhambra - Gymnastic Performances in Music-Halls - Gymnastic Mishaps.
WHEN Wallett, the clown, returned from his American tour, he had arranged to meet Pablo Fanque at Liverpool, with a view to performances in the amphitheatre there; but when the Shakspearian humourist arrived in the Mersey, his dusky friend was giving circus performances in the theatre at Glasgow, with James Cooke's large circus on the Green, in opposition to him. London was not, at that time, thought capable of supporting more than one circus, and it was not to be expected that Glasgow could support two, even for a limited period. Pablo Fanque retired from the contest, therefore, and removed his company and stud to Paisley. Doing a good business in that town, he returned to Glasgow with a larger circus, a stronger company, and a more numerous stud, and Cooke retired in his turn.
Wallett, who had been clowning in Franconi's circus, then located in Dublin, joined Pablo Fanque in Glasgow, and between them they devised an entertainment which was found attractive, but which produced most ludicrous consequences. There was a posturer in the company, whose Hibernian origin was concealed under the nom d'arena of Vilderini; and it was proposed that this man should be transformed, in semblance at least, into a Chinese. The Irishman did not object, though the process involved the shaving of his head, and the staining of his skin with a wash to the dusky yellow tint characteristic of the veritable compatriots of Confucius. The metamorphosis was completed by arraying him in a Chinese costume, and conferring upon him the name of Ki-hi-chin-fan-foo, which appeared upon the bills in Chinese characters, as well as in the English equivalents. Whether his sponsors had recourse to a professor of the peculiar language of the Flowery Land, or took the characters from the more convenient source presented by a tea-chest or a cake of Indian ink, I am unable to my; but the strange scrawl served its purpose, which was to attract attention and excite curiosity, and the few Celestials in Glasgow were either more unsophisticated than the 'heathen Chinee' immortalized by Bret Harte, and suspected no deception, or they were too illiterate to detect it.
It happened that an enterprising tea-dealer in the city had, some time previously, conceived the idea of engaging a native of China to stand at the shop-door, in Chinese costume, and give handbills to the Glasgowegians as they passed. A Chinese was soon obtained, and posted at the door, where, in a few weeks, he found himself confronted with a fellow-countryman, who was similarly engaged at a rival tea-shop on the other side of the street. The two Chineses - Milton is my authority for that word - could not behold the circus bills, with their graphic design of a Chinese festival and the large characters forming the name of the great posturer who had performed before the brother of the sun and the moon, without being moved. They went to the circus, and, in a posturing act, to which a Chinese character was imparted by a profuse display of Chinese lanterns and a discordant beating of gongs, thumping of tom-toms, and clashing of cymbals, by supernumeraries in Chinese costumes, they beheld the great Ki-hi-chin-fan-foo.
On the conclusion of the performance, they went round to what in a theatre would be termed the stage-door, asked for their countryman, and evinced undisguised disappointment on being informed that he could not be seen. They repeated their application several times, but always with the same result; and, the idea growing up in their minds that their countryman was held in durance, and only liberated to appear in the ring, they went to the police-court, and made an affidavit that such was their belief. Pablo Fanque was, in consequence, called upon for an explanation, and found himself obliged to produce the posturer in court, and put him in the witness box to depose that he was not a countryman of the troublesome Chineses, but a native of the Emerald Isle, who could not speak a word of Chinese, and had never been in China in his life.
Pablo Fanque moved southward on leaving Glasgow, but he fell into difficulties, and borrowed money of Batty, giving him a bill of sale upon the circus and stud. Going into the midland districts, and finding Newsome's circus at Birmingham, he went on to Kidderminster, where, failing to carry out his engagements with Batty, the latter took possession of the concern, and announced it for sale. Becoming the purchaser himself, he constituted Fanque manager, thus displacing Wallett, who had been acting in that capacity for the late proprietor.
Wallett endeavoured to make an arrangement for the company and stud to appear in the amphitheatre at Liverpool, but could not obtain Batty's acquiescence. Having engaged with Copeland to provide a circus company and horses, Batty's refusal to allow the Fanque troupe to go to Liverpool put him to his shifts. Having to form a company in some way, he engaged two equestrians, Hemming and Dale, who happened to be in Liverpool without engagements; and hearing that John Clarke, then a very old man, was in the neighbourhood, with three horses and as many clever lads, he arranged with him for the whole. He then started for London by the night train, roused William Cooke early in the morning, and hired of him eight ring horses and a menage horse, at the same time engaging Thomas Cooke for ring-master, with his pony, Prince, and his son, James Cooke, the younger, as an equestrian. These were got down to Liverpool with as little delay as possible, and the amphitheatre was opened for a season that proved highly prosperous.
In 1851, the expectation of great gains from the concourse of foreigners and provincials to the Great International Exhibition in Hyde Park induced Batty to erect a spacious wooden structure, capable of accommodating fourteen thousand persons, upon a piece of ground at Kensington, opposite the gates terminating the broad walk of the Gardens. It was opened in May as the Hippodrome, with amusements similar to those presented in the Parisian establishment of the same name, from which the company and stud were brought, under the direction of M. Soullier. Besides slack-rope feats and the clever globe performance of Debach, there was a race in which monkeys represented the jockeys, a steeple chase by ladies, an ostrich race, a chariot race, with horses four abreast, after the manner of the ancients, and the feat of riding two horses, and driving two others at the same time, the performances concluding with one of those grand equestrian pageants, the production of which subsequently made the name of the Sangers famous, in connection with the Agricultural Hall.
Fitzball wrote some half-dozen spectacular dramas for Batty during the latter's management of Astley's, one of the earliest of which was The White Maiden of California, in which an effect was introduced which elicited immense applause at every representation. The hero falls asleep in a mountain cavern, and dreams that the spirits of the Indians who have been buried there rise up from their graves around him. The departed braves, each bestriding a cream-coloured horse, rose slowly through traps, to appropriate music; and the sensation produced among the audience by their unexpected appearance was enhanced by the statue-like bearing of the men and horses, the latter being go well trained that they stood, while rising to the stage, and afterwards, as motionless as if they had been sculptured in marble.
Fitzball adapted to the hippo-dramatic stage the spectacle of Azael, produced in 1851 at Drury Lane. At the first rehearsal, there was as much difficulty in drilling the gentlemen of the chorus into unison, to say nothing of decorum, as Ducrow had experienced at Drury Lane in instructing the small fry of the profession in the graces of elocution. There was an invocation to be chanted to the sacred bull by the priests of Isis, and the choristers, who seem to have been drawn from the stables, entered in an abrupt and disorderly manner, some booted and spurred, and carrying whips, others holding a currycomb or a wisp of bay or straw. Kneeling before the shrine, they shouted the invocation in stentorian tones, and with a total disregard of unison; and during a pause they disgusted the author still more by indulging in horse-play and vulgar 'chaff.'
Fitzball made them repeat the chorus, but with out obtaining any improvement. They would play, and they would not sing in unison. Fitzball glanced at his watch; it indicated ten minutes to the dinner hour of the fellows. He thereupon desired the call-boy to give his compliments to Mr Batty, and request that the dinner-bell might not be rung until he gave the word for the tintinnabulic summons. The choristers heard the message, and, as they wanted their dinners, and knew that Batty was a strict disciplinarian, it had the desired effect. There was no more 'chaffing,' no more practical jokes; they repeated the invocation in a chastened and subdued manner, and before the ten minutes had expired their practice was as good as that of the chorus at Covent Garden.
Mazeppa was revived at Astley's during the season of 1851-2, and the acts in the arena comprised the fox-hunting scene of Anthony Bridges with a real fox; the great leaping act of John Bridges; the cachuca and the Cracovienne on the back of a horse, danced by Amelia Bridges; the graceful equestrian exercises of Mademoiselles Soullier and Masotta; the gymnastic feats of the Italian Brothers; and the humours and witticisms of Barry and Wheal, the clowns.
The Hippodrome re-opened in the summer of 1852, under the management of Henri Franconi, the most striking features of the, entertainment being Mr Barr's exhibition of the sport of hawking, with living hawks and falcons; the acrobatic and rope-dancing feats of the clever Brothers Elliot; and Mademoiselle Elsler's ascent of a rope over the roof of the circus.
Batty, who was reputed to have died worth half a million sterling, was succeeded in the lesseeship of Astley's by William Cooke, who, with his talented family, for several years well maintained the traditional renown of that popular place of amusement. Like the Ducrows, the Henglers, the Powells, and others, the Cookes are a family of equestrians; and not the least elements of the success achieved by the new lessee of Astley's were the wonderful feats of equestrianism performed by John Henry Cooke, Henry Welby Cooke, and Emily Cooke (now Mrs George Belmore). Welby Cooke's juggling acts on horseback were greatly admired, and John H. Cooke's feat of springing from the back of a horse at full speed to a platform, under which the horse passed, and alighting on its back again, was quite unique.
Vauxhall Gardens re-opened in 1854 with the additional attraction of a circus, in rivalry with Cremorne, now become one of the most popular places of amusement in the metropolis. The sensation of the season was the gymnastic performance of a couple of youths known as the Italian Brothers on a trapeze suspended beneath the car of a balloon, while the aerial machine was ascending. The perilous nature of the performance caused it to be prohibited by the Commissioners of Police, by direction of the Home Secretary; a course which was also adopted in the case of Madame Poitevin's similar ascent from Cremorne, seated on the back of a bull, in the character of Europa, though in that instance on the ground of the cruelty of slinging the bovine representative of Jupiter beneath the car.
Some years afterwards, the gymnasts who bore the professional designation of the Brothers Francisco advertised their willingness to engage for a trapeze performance beneath the car of a balloon; but they received no response, probably owing to the official prohibition in the case of the Italian Brothers.
'Would not such a performance be rather hazardous?' I said to one of them.
'Oh, we should only do a few easy tricks,' he replied. 'We should soon be too high for anybody to see what we were doing, and need only make believe. Once out of sight, we should pull up into the car.'
‘Of course,' I observed, 'the risk of falling would be no greater than if you were only thirty or forty feet from the ground; but, if you did fall, there would be a difference, you would come down like poor Cocking.'
'Squash!’ said the gymnast. 'As the nigger said, it wouldn't be the falling, but the stopping, that would hurt us. But the risk would have to be considered in the screw; and then there is something in the offer to do the thing that ought to induce managers to offer us an engagement.'
In 1858, Astley's had a rival in the Alhambra, which, having failed to realize the anticipations of its founders as a Leicester Square Polytechnic, under the name of the Panopticon, was converted by Mr E. T. Smith into an amphitheatre. Charles Keith, known all over Europe as ‘the roving English clown,' and Harry Croueste were the clowns; and Wallett was also engaged in the same capacity during a portion of the season. One of the special attractions of the Alhambra circle was the vaulting and tumbling of an Arab troupe from Algeria. Vaulting is usually performed by European artistes with the aid of a spring-board, and over the backs of the horses, placed side by side. The head vaulter leads, and the rest of the company-clowns, riders, acrobats, and gymnasts-follow, repeating the bound until the difficulty of the feat, increasing as one horse after another is added to the group, causes the less skilful performers to drop, one by one, out of the line. The Arab vaulters at the Alhambra dispensed with the spring-board, and threw somersaults over bayonets fixed on the shouldered muskets of a line of soldiers. This feat has since been performed by an Arab named Hassan, who, with his wife, a French rope-dancer, has performed in several circuses in this country.
Vauxhall Gardens, which had been closed for several years, opened on the 25th of July, in this year, for a farewell performance, in which a circus troupe played an important part, with Harry Croueste as clown. Then the once famous Gardens were given over to darkness and decay, until the fences were levelled, the trees grubbed up, and the site covered with streets, some of which, as Gye Street and Italian Street, still recall the former glories of Vauxhall by their names.
Some reminiscences of the provincial circus entertainments of this period have been furnished by Mr C. W. Montague, formerly with Sanger's, Bell's, F. Ginnett's, Myers's, and William and George Ginnett's circuses, and now manager of Newsome's establishment. 'Early in the spring of 1859,' says this gentleman, 'some business took me into the neighbourhood of Whitechapel, and while passing the London Apprentice public-house, I heard my name shouted, and looking round espied Harry Graham, whom I had known in the elder Ginnett's circus. He was doing a conjuring trick outside a miserable booth, at the same time inviting the public to walk in, the charge being only one halfpenny. On the completion of the trick, he jumped off the platform, and insisted on our adjourning to the public-house, where he explained the difficulty he was in, having been laid up all the winter with rheumatic gout. On his partial recovery, he was compelled to accept the first thing that offered, which was an engagement with the owner of the booth, a man known in the profession as the Dudley Devil.
'Poor Harry begged me to give him a start; so I came to an arrangement to take him through the provinces as M. Phillipi, the Wizard. This was on a Friday; on the following Wednesday he appeared at Ramsgate to an eighteen pound morning performance and a fourteen pound one at night, our prices being three shillings, two shillings, and one shilling, although in Whitechapel he would not have earned five shillings per day. Among other places I visited was Dartford, where I took the Bull Hotel assembly-room, which had been recently rebuilt, but not yet opened. Mrs Satherwaite, a lady of considerable distinction, kindly gave me her patronage, and I arranged for a band at Gravesend. On the day of the performance, towards the afternoon, the band not having arrived, I sent my assistant to Gravesend, with instructions to bring a band with him. Half-past seven arrived, the time announced for opening the doors, when a large crowd had assembled, as much out of curiosity to see the new room as the conjurer, and in a short time every seat was occupied.
'Just before the clock struck eight, the time for commencement, in came my assistant, saying the band had gone to Dover, to a permanent engagement. I ran round to the stage-door, and told Graham. He said it was impossible to give the entertainment without music. In my despair, I rushed into the street, with the intention of asking Reeves, the music-seller, if he could let me have a pianoforte. I had not got many yards when I heard a squeaking noise, and found it proceeded from three very dirty German boys, one playing a cornopean, another a trombone, and the third a flageolet. On accosting them, I found they could not speak a word of English; so I took two of them by the collar, and the other followed. On reaching the stage-door, I could hear the impatient audience making a noise for a commencement.
Harry Graham, on seeing my musicians, said it would queer everything to let them be seen by the audience. "I can manage that," I said; "we will just put them under the stage, and I will motion them when to go on and when to leave off." In another moment M. Phillipi was on the stage, and received with shouts of applause from the impatient audience. On the conclusion of the performance, I went to the front, and thanked Mrs Satherwaite for her kindness, when she said, "He is very clever; but, oh! that horrid unearthly music!"'
‘On finishing the watering towns, I took the Cabinet Theatre, King's Cross, where M. Phillipi appeared with success. One evening, to vary the performance, we arranged to do the bottle trick, and specially engaged a confederate, who was to change the bottles from the top of the ladder, through one of the stage-traps. By some error, the man took his position directly the bell rang for the curtain to go up, instead of doing so, as he should have done, at the commencement of the second part of the entertainment. M. Phillipi commenced his usual address, explaining to the audience that be did not use machinery or employ confederates, as other conjurers are wont to do; and to convince them, he pulled up the cloth of the table, at the same time saying, "you see there is nothing here but a common deal table." To his surprise, the audience exclaimed, "There's a man there!" But he was equal to the occasion, and went on with his address, taking the first opportunity to give the confederate a kick, when down the ladder he went.
'At this establishment, while under my management, the earthly career of poor Harry Graham was brought to a close. For many years it had been his boast that his Richard III. was second only to Edmund Kean's, and that he only lacked the opportunity to astound all London with his impersonation of the character. Now the opportunity had arrived, and he determined to play it for his benefit; but, unfortunately, the excitement of this dream of years was too much for him, and he died a few days afterwards. Those who are curious about the last resting-place of this world-renowned showman may find his grave in the Tower Hamlets cemetery.
'In the following winter, I joined Ginnett's circus at Greenwich, and found the business in a wretched condition. The principal reason for this state of things was, that the circus had only a tin roof and wooden boarding around, and the weather being very severe, the place could not be kept warm. I was at my wits' ends to improve the receipts when, being one day in a barber's shop, getting shaved, the barber remarked, "There goes poor Townsend." On inquiring I found that the gentleman referred to had been M. P. for Greenwich, but in consequence of great pecuniary difficulties had had to resign. My informant told me that he was a most excellent actor, he having seen him, on more than one occasion, perform Richard III. with great success; and what was more, he was an immense favourite in Greenwich and Deptford, he having been the means, when in the House of Commons, of getting the dockyard labourers' wages considerably advanced.
'It immediately struck me that, if I could get the ex-M. P. to perform in our circus, it would be a great draw. With this object in my mind, I waited on Mr Townsend the next morning, and explained to him my views. "Heaven knows," he said in reply, "I want money bad enough; but to do this in Greenwich would be impossible." I did not give it up, however, but pressed him on several occasions, until at last he consented to appear as Richard III. for a fortnight, on sharing terms. The next difficulty was as to who should sustain the other characters in the play, there being no one in the company, except Mr Ginnett and myself, capable of taking a part. We got over the difficulty by cutting the piece down, and Mr Ginnett and myself doubling for Richmond, Catesby, Norfolk, Ratcliffe, Stanley, and the Ghosts. The business, notwithstanding these drawbacks, turned out a great success; so much so, that Mr Townsend insisted on treating the whole of the company to a supper. Shortly afterwards, he went to America.
'In the following year, while at Cardiff, we got up an equestrian spectacle entitled The Tournament; or, Kenilworth Castle in the Days of Good Queen Bess, for which we required many supernumeraries to take part in the procession, the most important being a handsome-looking female to impersonate the maiden Queen. Walking down Bute Street one day, I espied, serving in a fruiterer's shop, a female whom I thought would answer our purpose admirably. So I walked in, and made a small purchase, which led to conversation; and by dint of a little persuasion, and explaining the magnificent costume to be worn, the lady consented to attend a rehearsal on the following day. She came to the circus, received the necessary instructions, and seemed highly gratified when seated on the throne, surrounded by her attendants.
'On the first night of the piece, everything went off well until its close, when Mr Ginnett rushed into my dressing-room, in great excitement, exclaiming, "There is that infernal woman sitting on her throne!” I immediately proceeded to the ring-doors, and there, to my dismay, saw the Queen on the throne by herself, and the boys in the gallery pelting her with orange peel. I beckoned to her, but she seemed to have lost all presence of mind. I sent one of the grooms to fetch her off, and amidst roars of laughter her royal highness gathered up her robes, and made a bolt. It appeared that the Earl of Leicester, who should have led her off, had, for a joke, told her to stay until she was sent for.'
Gymnastics continued in the ascendant at the Alhambra long after its conversion into a music-hall, and crowds flocked there nightly to witness the wondrous, and then novel, feats of Leotard, Victor Julien, Verrecke, and Bonnaire on the flying trapeze. Somersaults over horses in the ring, being performed by the aid of a spring-board, are far surpassed by the similar feats of gymnasts between the bars of the flying trapeze. The single somersaults of Leotard and Victor Julien were regarded with wonder, but they have been excelled by the double somersault executed by Niblo, which, in its turn, has been surpassed by the triple turn achieved by the young lady known to fame as 'Lulu.' I am not aware that a quadruple somersault has ever been accomplished, if indeed it has ever been attempted. It was stated, about three years ago, that a gymnast who had attempted the feat in Dublin paid the penalty of his hardihood in loss of life; but experience has rendered me somewhat incredulous as to the rumours of fatal accidents to gymnasts and acrobats which are not confirmed by the report of a coroner's inquest.
Besznak, the cornet-player of the London Pavilion orchestra, said to me one evening, several years ago, 'You know Willie, the bender? Well, he is dead; went into the country to perform at a gala, and caught a cold, poor fellow!' Willio is, however, still living. I will give another instance. About two years ago, one of the Brothers Ridgway met with an accident at the Canterbury Hall, while practising. Some weeks afterwards, it was currently reported that his injuries had proved fatal. Subsequently, however, a gentleman engaged in the ballet at the Alhambra, and who, at the time of the accident, had been similarly engaged at the Canterbury, was accosted one evening, while returning home, in the well-known voice of the young gymnast who had been reported dead. Turning round in surprise, he saw that it was indeed Ridgway who had spoken, looking somewhat paler than he did before the accident, but far more lively than a corpse.
Great as the risks attending gymnastic feats really are, they are not greater than those which are braved every day by sailors, miners, and many other classes, as well as in hunting, shooting, rowing, and other sports, not excluding even cricket. While there are few gymnasts who have not met with casualties in the course of their career, the proportion of fatal accidents to the number of professional gymnasts performing is certainly not greater than among the classes just mentioned, and I believe it to be even less. During the period between the advent of Leotard at the Alhambra and the present time, only two gymnasts, so far as I have been able to ascertain, have been killed while performing; and the prophecy attributed to that renowned gymnast, that all his emulators would break their necks, has, happily, not been fulfilled.
http://www.circushistory.org/Frost/Frost8.htm

 

Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter IX.
Cremorne Gardens - The Female Blondin - Fatal Accident at Aston Park - Reproduction of the Eglinton Tournament -Newsome and Wallett - Pablo Fanque's Circus - Equestrianism at Drury Lane - Spence Stokes - Talliott's Circus - The Gymnasts of the Music-halls - Fatal Accident at the Canterbury - Gymnastic Brotherhoods - Sensational Feats - Sergeant Bates and the Berringtons - The Rope-trick - How to do it.
THOUGH the history of circus performances would be scarcely complete without an occasional passing glance at the music-halls, it would be impracticable to give a consecutive record of the performances at places now so numerous without producing a, work that would rival in voluminousness, and, I may add, in tedium, the dramatic history of Geneste. I shall, therefore, give only a general view of them, including in the survey places which, during the summer, divide with them the patronage of the pleasure-seeking public.
While the graceful performance of Leotard was attracting nightly crowds to the Alhambra, the public were invited by the lessee of Cremorne Gardens to witness the crossing of the Thames on a rope by a lady who assumed the name of the Female Blondin, and whose performance was probably suggested by the more adventurous feat of her masculine prototype over the cataract of Niagara. The performance was decidedly sensational, and attracted a great crowd; besides having the advantage of being attended with much less risk to the performer than any exhibition ever given by the cool-headed and intrepid Frenchman whose name she borrowed. Had Blondin fell at Niagara, he would have been carried over the cataract, and been dashed to pieces; if he should fall from his lofty elevation at the Crystal Palace, be would be killed instantaneously.
Miss Young incurred no such risk; if she had fallen into the river, she would have found it soft, and so many boats were on its surface that the risk of drowning could not enter into the calculation. Leotard practised his aerial somersault over water before he performed in public; and it would have been well for Miss Young if she had confined her rope-walking feats to localities in which she had the water beneath her. The experiment at Cremorne served its purpose in recommending her to the attention of managers as a rival of Blondin on the high rope; but it was not long before she met with an accident which rendered her a cripple for life, while another young woman, whom her success led to emulate her lofty feats, fell from a rope at Aston Park, in the environs of Birmingham, and was killed on the spot.
The great attraction of the Cremorne season of 1863 was a tournament, got up on the model of the one which attracted so large a proportion of the upper ten thousand to Eglinton Castle in the summer of 1844. There was a grand procession to the lists, and an imposing display of banners, and all the pomp and pageantry of bygone times; and then the encounters of the armoured knights, for which the lists at Cremorne afforded much more scope than the stage at Astley's, or even at Drury Lane. Doubtless there were some dummies, as I have seen in the tournament scene in Mazeppa; but the living knights acquitted themselves very creditably, and the spectacle proved a powerful source of attraction.
The Queen of Beauty was a lady whose ordinary business was to ride in entrees, and who was known professionally as Madame Caroline. If she did not, like Thackeray's Miss Montmorency, live in the New Cut, she had her abode in the vicinage of that thoroughfare, in the somewhat more westerly region which receives, after midnight, so large a proportion of those who, in various ways, contribute to the amusement of the public. Yet there may have been some of the critical spectators of the Cremorne tournament who, looking upon Madame Caroline, may have felt the force of the remark made by Willis as to the comparative suitability of Lady Seymour and Fanny Kemble to have occupied the throne of the Queen of Beauty at Eglinton Castle.
'The eyes,' said Willis, ‘to flash over a crowd at a tournament, to be admired from a distance, to beam down upon a knight kneeling for a public award of honour, should be full of command; dark, lustrous, and fiery. Hers are of the sweetest and most tranquil blue that ever reflected the serene heaven of a happy hearth - eyes to love, not wonder at - to adore and rely upon, not admire and tremble for. At the distance at which most of the spectators of the tournament saw Lady Seymour, Fanny Kemble's stormy orbs would have shown much finer; and the forced and imperative action of a stage-taught head and figure would have been more applauded than the quiet, nameless, and indescribable grace, lost to all but those immediately around her.'
Wallett, the clown, on his return from his second American tour, having acquired some money, was taken into partnership by Newsome, whose circus was, in the words of the former, 'one of the most complete concerns ever seen.' They opened at Birmingham, where good business was done for a few months, after which they started on a tenting tour, with a stud of forty horses. They returned to Birmingham for the winter, and showed their thousands of patrons one of the finest amphitheatres ever opened in this country. The ring, instead of having saw-dust or tan laid down, was covered with pile matting of cocoa-nut fibre for the horses to run on, while the central portion, where the ring-master cracks his whip and the clown his 'wheeze,' boasted a circular carpet. The decorations of the interior were rich and tasteful, and it was illuminated by a chandelier by Defries, which had cost a thousand guineas.
The association of Wallett with Newsome continued for two years, after which the circus was conducted by the latter single-handed, and the former joined Pablo Fanque's circus as clown. He is next found engaging the talented Delavanti family for a tour, and afterwards coming with them to London, where they were all engaged at Drury Lane Theatre, then temporarily open for circus performances, under the management of Spence Stokes, an American.
In 186.5, Hengler's company and stud came to London, and gave a series of performances at the Stereorama, temporarily converted into a circus for the purpose. On the termination of these performances, and of William Cooke's lesseeship of Astley's, London was without an amphitheatre for several years, with the exception of a few months, when a small temporary circus was opened in the back-slums of Lambeth Walk, by James Talliott, formerly well known as a trapeze performer. The company and stud, which were on a very limited scale, were supplied from Fossett's circus, which tented at fairs during the summer, and Talliott erected a temporary circus for them on the yards at the back of a row of houses belonging to him.
During the time that Astley's ceased to exist as a circus, the music-halls of the metropolis, which were now springing up in every quarter, supplied the seekers after amusement with a constant succession of performers of those portions of a circus entertainment which can be exhibited upon a platform. The fatal accident which befell a gymnast named Majilton at the Canterbury caused the proprietors of those places of amusement to discountenance the flying trapeze for a time, and the rising school of young gymnasts who intended to transcend the feats of Leotard began to practise on the fixed trapeze, single or double, the horizontal bar, and the flying rings. The gymnast known professionally as Airec made balancing the distinctive feature of his performances, and exhibited it on the trapeze in every position. Others gave to their feats on the trapeze the sensational character which was so striking an element in the performances of Leotard and Victor Julien by exhibiting what is called 'the drop,' in which one of the performers falls headlong from the bar, as if by accident, and is caught by the foot by his companion, who himself hangs from the bar by his feet, which are locked in the angles formed by the bar and its supporting ropes.
The gymnasts known as the Brothers Ellis, and sometimes as the Brothers Ellistria, were two of the best performers on the horizontal bar that I ever witnessed. The slow pull-up of James Ellis was inimitable; but in feats in which ease and grace were displayed more than strength, he was excelled, I think, by his partner, who, after their separation, assumed the name of Castelli. I must here remark that gymnastic and acrobatic 'brothers' seldom bear the relationship to each other which the designation conveys. Though it exists in some instances, as in the case of the Brothers Ridley (both, I believe, now dead), they are the exceptions; the Brothers Francisco, who performed in numerous circuses and provincial music-halls several years ago, but have since retired from the profession, were cousins. The Brothers Ellis, the Brothers Price, and many other professional fraternities that could be named were not even partners, one of them making engagements and receiving the salary, taking the lion's share for himself, and paying a stipulated sum to his companion, in or out of an engagement.
The partnership of the Brothers Price, who performed on the double trapeze, was of brief duration. Price, for only one of them bore that patronymic in private life, had the good fortune to receive a legacy of considerable amount, and thereupon retired from the profession; and his partner, whose real name was Welsh, assumed the name of Jean Price, and, knowing that single trapeze performances did not 'go' like the double, he began to practise the 'long flight,' and made it his specialty. Suspending his trapeze above the platform, as usual, he erected a perch, as for the flying trapeze, at the opposite end of the hall, and at the same altitude as the trapeze. Midway between the perch and the trapeze a pair of ropes were suspended from the ceiling, and provided with rings or stirrups, as for the flying rings performance, but long enough to reach the perch. Taking his stand on the perch, and grasping the rings firmly with his hands, the gymnast sprang off into the air, and swung to the trapeze, which he caught with his legs, at the same moment loosing his hold of the rings. He then performed some ordinary feats on the trapeze, and catching the climbing rope swung to him by an attendant, descended by it to the platform, from which he bowed his acknowledgments of the warm applause with which such sensational feats as the long flight are invariably received.
Remarks are often made by gymnasts as to the ease with which they perform on the trapeze and the horizontal bar many of the feats which elicit the most applause, as compared with those which often excite no demonstration whatever. Every one who has witnessed the tight-rope performances of the inimitable Blondin must have observed how much more he is applauded when he appears on a rope stretched at a great elevation than when he performs his feats on a low rope. There is, however, no more difficulty, and no greater risk of falling, whether the rope is stretched at an elevation of four feet only, or of forty feet, while the feats performed are the same. But the greater elevation convoys to most minds the idea of a greater amount of skill and courage being required for their performance, and hence the louder and more general applause which they elicit when they are performed on the high rope. People admire daring, and the more sensational a gymnastic performance of any kind is the more it is sure to be applauded.
Antipodean balancing feats have been exhibited by several music-hall artistes, in various modes, and with a considerable variety of accessories. James King, known as the bottle equilibrist, places a stool on a table, four wine glasses on the stool, a tray upon the glasses, and a decanter upon the tray; and then, grasping the upper part of the decanter with both hands, raises himself to a head-balance. Another artiste of this class, Jean Bond, balances himself upon his bead upon the summit of one of the uprights of a ladder, which is surmounted by a revolving cap, and by turning the cap with his hands, he spins round in that position. A more interesting performance, to my mind, than either of these was shown three or four years ago by an acrobat named Carl, who walked upon his hands along a wire stretched from the gallery to a temporary platform on the stage. In performing this feat, the whole weight of the body rests on the right and left hands alternately, and the equilibrium is maintained by following each movement of the hands along the wire with a corresponding motion of the body, so that, whether the weight is resting on the right hand or the left, the centre of gravity is directly above the wire.
The flying rings, being a less sensational performance than the trapeze, has not been much favoured by gymnasts, though they frequently practise with the rings while training, as a preparation for the flying trapeze. Some very good tricks can be shown with them, however, and several years ago the performance was made a specialty by a brace of gymnasts known as Parelli and Costello. Parelli is not an Italian, as his professional name would lead the incognoscenti in such matters to infer, but a native of Westminster, and his real name is Francis Berrington. Having practised gymnastics with a view to a public appearance, he found a partner in a young acrobat named Costello, also a native of Westminster, whose performances had hitherto been exhibited in quiet streets, and been followed by a 'nob.' He is not, however, the only performer whom the multiplication of music-halls and the consequent demand for gymnasts and acrobats in such establishments, has elevated from the streets to the platform; and it is certain that the change, while it has raised the status of the vocation, has produced a great improvement in the quality of the performance, by furnishing the performer with a constant incentive thereto. It is a curious illustration of the system of adopting professional names differing from their real patronymics, and which obtains equally among all classes that contribute to the amusement of the public in theatres, circuses, and music-halls, that Parelli is the brother of Luke Berrington, who performs under the name of Majilton. Luke Berrington is a very creditable artist in water-colours, and his views of the various portions of the exterior and interior of Westminster Abbey have been greatly admired by competent judges for their artistic finish and the fidelity with which every portion of the venerable edifice has been reproduced. To the general public, however, he is better known as a clever performer of the tricks with a hat of soft felt which were first exhibited in this country by the French clowns, Arthur and Bertrand.
Mr Berrington, senior, the father of Luke and Frank, is not a little proud of his clever sons and daughter. When Serjeant Bates, to win a wager and make a book, carried the flag of the American Union from Glasgow to London, the elder Berrington welcomed him to the metropolis in an epistle signed 'Majilton,' without the prefix of his baptismal name, as if the writer was a peer of the realm, and used his title. He refers, with pardonable parental pride, to his olive-branches, then making a professional tour in the United States, Luke and Frank being accompanied by their sister and Costello; and the serjeant, who had probably never heard of them before, speaks of them as a talented family of actors! Their entertainment was really a ballet of diablerie, like those of Fred Evans and the Lauri family, with a good deal of tumbling and hat-spinning.
Seven or eight years ago, the great 'sensation' of the London music-halls was a balancing feat of a novel character, which was exhibited by an acrobat named professionally Sextillian, but whose real name is James Lee. He arranged about a score of glass tumblers in the form of an inverted pyramid, and balanced the fragile structure on his forehead, the base being formed by a single tumbler. But this was not all. He changed his position several times, constantly assuming attitudes which would have won the admiration of the world, if they could have been perpetuated in marble, and even passed in various positions through a hoop, all the time maintaining the equilibrium of the glittering pile that rested upon such a narrow base upon his forehead. If any of my readers should be disposed to attempt the performance of this feat as a private drawing-room entertainment, they must be prepared with a good supply of tumblers, for I am able to assure them, on the excellent authority of Sextillian himself, that the wondrous dexterity with which he performs it was not attained without an extensive destruction of glass.
Another performance which excited a large amount of public attention, partly through the mystery in which the modus operandi was enveloped, and partly by reason of the excitement previously produced by the Brothers Davenport's exhibition of alleged spirit-manifestations, was the 'rope-trick,' shown first by an expert performer named Redmond at Astley's, and afterwards at most of the music-halls. The performer was enclosed in a cabinet about three feet square, and five or six feet high, with a door facing the spectators, and provided with a small aperture near the top. In a few minutes an attendant opened the door, when Redmond was seen within, securely bound in a chair. The spectators were allowed to satisfy themselves that he was bound as securely as if a second person had bound him, and then the door was closed. In a few moments he rang a bell, then he showed one hand at the aperture; in a few seconds more he began to beat a tambourine, and in a minute and a half from the time he was shut in the door was opened again, and he walked out, with the rope in his hands. This performance proved so attractive that it soon had many imitators, but none of them did it in so genuine and puzzling a manner, or displayed equal dexterity in its exhibition.
The trick was not original, but it was new to the public, or at least to the present generation. I have heard it called both the American rope-trick and the Indian rope-trick, but the former name may have been derived from the similar performance of the Brothers Davenport, who pretended to be passive agents in the business, and to be tied and untied by spirits. Long before the pretended spiritual phenomena were ever heard of, the rope-trick was in the repertoire of the famous Hindoo juggler, Ramo Samee, who performed at the Adelphi and the Victoria some forty years ago. The manner of its performance is said to have been communicated by him to one of the Brothers Nemo, who thought so little of it that he never exhibited it until the public mind had become excited by the tricks of the Davenports and the antagonistic performance of Redmond. Next to the latter, Nemo was the best exhibitor of the trick that I ever saw; but that is not saying much, for most of them were so incompetent to perform it that the effect produced by its exhibition by them was simply ludicrous. I remember one of them - I will not mention his name - complaining when he found that he could not release himself, that he had not been treated as a gentleman by the person - one of the spectators - by whom he had been bound; and another, that he had been tied so tightly that the rope hurt his wrists, and stipulating, on another occasion, that he should not be tied tight!
The peculiarity which distinguished Redmond's feats in a remarkable manner from those of his imitators was, that he not only released himself from the rope in less time than was occupied in binding him, whoever the operator might be, but bound himself in a manner that baffled the skill and exhausted the patience of every one who attempted to unbind him. I was present one evening at the decision of a wager which had been made by a Westend butcher, that he would unbind Redmond in a given time, the tying up being done by Redmond himself. The performer entered the cabinet, carrying the rope, and was shut in; in less than two minutes the door was opened, and he was seen bound, hand and foot, to the chair on which be was sitting. The butcher immediately set to work, several gentlemen standing around, with their watches in their hands, surveying the operation with the keenest interest. It was very soon seen that the butcher was at fault; he could not find either end of the rope. He sought in Redmond's boots, up his sleeves, inside his vest, but the rope seemed endless. He fumed, he perspired, as the seconds grew into minutes, and the minutes swiftly chased each other down the stream of time; but no end could he discover. Time was called, and the butcher's wager was lost. Redmond was then enclosed in the cabinet again, and in less than two minutes he was free.
The secret of this trick is unknown to me, but I was not long in discovering that the mere untying by a person of a rope which has been bound about him by another is, however securely the rope may be tied, a very simple matter. It does not follow, however, that the feat can be performed by every one. The operator must possess good muscles, sound lungs, small hands, and strong fingers. If he clenches his hands, raises the muscles of his arms, and keeps his chest inflated during the operation of tying, he will find that his work is half done by the simple process of opening his hands, relaxing the muscles of the arms, and restoring the natural respiration. If the wrists are bound together without being separately secured, the releasing of one hand frees the other by the slackening of the rope; but the operator is thought to be more securely tied when the rope is tied with a knot about the right wrist, and then passed round the other, both drawn close together, and a second knot tied. In this case, the right hand must be drawn through the hempen bracelet by arching it lengthwise, and bringing the thumb within the palm, so that the breadth of the hand shall very little exceed that of the wrist ; and this operation is greatly facilitated by a smooth, hard skin. With the right hand at liberty, there is little more to be done; for a skilful and experienced manipulator finds it easier to slip out of his bonds than to untie the knots which are supposed to increase his difficulty. Any man possessing the physical qualifications which I have mentioned ought to be able to liberate himself, however securely he is tied, in a minute and a half.
I have performed this feat on several occasions for the satisfaction of friends, and have always released myself in Redmond's time, except on one occasion, when I failed entirely, and had to be released by the gentleman who had bound me. He had, unknown to me, made a noose at one end of the rope, and this he passed over my head, after binding my arms and knotting the rope behind me in such a manner that I could not move either hand without producing a lively sense of strangulation.
‘I learned that trick in Australia,’ observed the author of my discomfiture. 'I tied up a black fellow like that in the bush; and he is there now.'
http://www.circushistory.org/Frost/Frost9.htm

 

Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter X.
Opening of the Holborn Amphitheatre - Friend's season at Astley's - Adah Isaacs Menken - Sanger's Company at the Agricultural Hall - The Carre troupe at the Holborn Amphitheatre - WanderingStars of theArena - Albert Smith and the Clown - Guillaume's Circus - The Circo Price - Hengler's Company at the Palais Royal - Re-opening of Astley's by the Sangers - Franconi's Circus - Newsome's Circus - Miss Newsome and the Cheshire Hunt - Rivalry between the Sangers and Howes and Cushing.
AFTER the lapse of several years, during which no equestrian performances were given in the metropolis, though gymnastic and acrobatic feats were exhibited nightly at a score of music-halls, a new amphitheatre was, in 1868, erected on the north side of Holborn. There, under the excellent management of Messrs Charmar and Maccollum, have been exhibited some of the finest acts of horsemanship, and the most striking gymnastic feats, ever witnessed by this or any other generation. Alfred Bradbury's wonderful jockey act; James Robinson's great feat of hurdle-leaping on the bare back of a horse with a boy standing upon his shoulders; the marvellous leap through a series of hoops of George Delavanti; the astounding gymnastic performances of the Hanlons and the Rizarelis; the extraordinary somersaulting and rocket-like bound of the young lady known as Lulu; and the graceful riding of Beatrice Chiarini, without saddle or bridle, will not soon be forgotten by those who had the gratification of witnessing them.
In the same year that the Holborn Amphitheatre was opened, Astley's was re-opened as a circus by Mr Friend. The chief attraction upon which Mr Friend relied was the impersonation of Mazeppa by Adah Isaacs Menken, a young lady of Jewish extraction, who came from America with the reputation of a female Crichton of the nineteenth century. According to a biographical sketch prefixed to a Paris version of the drama, The Pirate of the Savannah, in which she appeared in that city, she had written verses and essays at an age at which other girls are occupied with dolls, and translated the Iliad in her thirteenth year. In Latin and Hebrew, Spanish and German, she was as proficient as in Greek; French, her enthusiastic Gallic biographer does not seem to consider it necessary to mention. Her mother being left in reduced circumstances at her second widowhood, Adah resolved to devote her natural talents and acquired accomplishments to the stage, and made her appearance as a dancer at the opera-house at New Orleans, of which city she was a native.
After achieving the greatest artistic triumphs there and at Havanna, she abandoned the boards for the literary profession, publishing a volume of poems, and contributing for some time to two New Orleans journals. In 1858, being then seventeen years of age, she made her debut as an actress in her native city, and subsequently performed in the chief towns of the West. In 1863 she went to San Francisco, and afterwards made a professional tour of the Eastern States, raising her reputation, according to her biographer, to the highest pitch.
Unfortunately for the maintenance of the exalted fame which she brought from the United States, this versatile lady appeared, not at the Italian Opera as a dancer, nor at Drury Lane or Covent Garden as an actress, which such fame should have entitled her to do, but at Astley's in the character of Mazeppa; and it was still more unfortunate that the management pinned their faith in her powers of attraction, not upon her talent as an actress, but upon her beauty and grace, and her ability to play the part without recourse to a double for the fencing and riding. Enormous posters everywhere met the eye, representing the lady, apparently in a nude state, stretched on the back of a wild horse, and inviting the public to go to Astley's, and see ‘the beautiful Menken.' Young men thronged the theatre to witness this combination of poses plastiques with dramatic spectacle, and 'girls of the period' dressed their hair a la Menken, that is, like the frizzled crop of a negress; but the theatrical critics looked coldly and sadly upon the performance, and accused the management of ministering to a vitiated taste.
Adah Menken was at this time in her twenty-seventh year, and had a few years previously become the wife of Heenan, the pugilist, whose fine figure had won her regards when the wealthiest men in California were competing for her favours. The union was not a happy one, for which result both the parties have been blamed; and the cause of difference was probably one in respect of which neither could reproach the other without provoking recrimination. Heenan, who was then in London, might often have been seen at Astley's during his wife's engagement, and it was said that both desired a reconciliation, and that Adah had come to England with that view; but nothing came of it. ‘The beautiful Menken' went to Paris, and was said to be on terms of tender intimacy with the elder Dumas. She died in Paris shortly afterwards, and her remains rest in the cemetery of Pere La Chaise.
Adah Isaacs Menken was undoubtedly a woman of rare natural talents and great accomplishments. While in London, she published a volume of poems, with the general title of Infelicia, which correctly describes their tone and character. Some of them are as wild as anything which has emanated from Walt Whitman, and more are replete with the weird fancies and wayward genius of Poe; but all are pervaded by a deep and touching melancholy, which seems to shadow forth the spectre that haunted the author's gay and brilliant life, like the garlanded skeleton at the festive board of the ancient Egyptians. From the suggestive title to the last of the little head-and-tail pieces, designed probably by Adah herself, everything in the book impresses a lesson which may be read in Ecclesiastes. In the first of these tiny engravings we seem to read the moral of the author's life-story. It represents a woman stretched on the shore of a stormy sea, with her face to the earth, and her dark hair flowing over her recumbent form, which is faintly illuminated by the fitful light of a moon half-obscured by drifting masses of black clouds. The book was dedicated to Dickens, and contains a photographic reproduction of a letter from the great novelist, thanking 'Dear Miss Menken' for her portrait, and giving the desired permission to the dedication.
On the legal principle, it would seem, that two lawyers will live where one would starve, the Sangers brought their company and stud to the Agricultural Hall, where, for several successive winters, their performances attracted thousands of spectators. This establishment continues to travel during the summer, however, only resorting to a permanent building in the metropolis when the approach of winter renders 'tenting' as unpleasant as it is unprofitable. The Agricultural Hall, not having been constructed for equestrian entertainments, is not so well adapted for them as for the purpose for which it was especially designed, and the locality is far inferior, as a site for a circus, to that of the Holborn Amphitheatre, of the circus subsequently erected by Charles Hengler, or even Astley's.
It was at the Holborn Amphitheatre that the first female trapezist appeared, in the person of a beautiful young woman rejoicing in the nom d'arena of Azella, the attractiveness of whose performances, as in the case of female lion-tamers, soon produced many imitators. Azella was announced to appear on the flying trapeze, and to turn a somersault; but this feat, which created such a sensation when performed by Leotard and Victor Julien, was exhibited by the fair aspirant to the highest gymnastic honours in a manner which caused some disappointment to those who had witnessed the performances of those renowned gymnasts at the Alhambra. Instead of throwing off from one bar, turning the somersault, and catching the next bar, Azella threw off, and somersaulted in her descent from the bar to the bed placed for her to alight upon. The grace with which all her evolutions were performed combined, however, with the beauty of her person and the novelty of seeing such feats performed by a woman, to secure her an enthusiastic reception whenever she appeared.
Azella was succeeded at the Amphitheatre by Mdlle Pereira, who performed similar feats, which she had exhibited in 1868 at Cremorne. Imitators soon appeared at all the music-halls in the metropolis. At some of these the long flight of Jean Price was emulated by a lady named Haynes, who transformed herself, for professional purposes, into Madame Senyah by the device of spelling her real name backward. A variation from Price's mode of performing the feat was presented by this lady, whose husband appeared with her in a double trapeze act, and hanging from the bar by his feet, caught her with his arms as she swung towards him on loosing her hold of the stirrups.
The company with which the Amphitheatre was opened was succeeded, after a long and successful career, by the Carre troupe, which introduced to the metropolis Alfred Burgess, who unites the qualifications of a clown with those of an accomplished equestrian and clever revolving globe performer. Clowns would seem to be precluded, by the nature of their business, from the cosmopolitan wanderings of other circus performers; but the name of Burgess is almost as famous on the continent as that of Charles Keith, who has performed in nearly every European capital, though Albert Smith has given a picture of clowning under difficulties which might well deter those who cannot crack a 'wheeze' in half a dozen languages from venturing into lands where English is not spoken.
'One evening,' says the humourist, 'I went to the Grand Circo Olympico - an equestrian entertainment in a vast circular tent, on a piece of open ground up in Pera; and it was as curious a sight as one could well witness. The play-bill was in three languages - Turkish, Armenian, and Italian; and the audience was composed almost entirely of Levantines, nothing but fezzes being seen round the benches. There were few females present, and of Turkish women none; but the house was well filled, both with spectators and the smoke from the pipes which nearly all of them carried. There was no buzz of talk, no distant hailings, no whistlings, no sounds of impatience. They all sat as grave as judges, and would, I believe, have done so for any period of time, whether the performance had been given or not.
'I have said the sight was a curious one, but my surprise was excited beyond bounds when a real clown - a perfect Mr Merriman of the arena - jumped into the ring, and cried out, in perfect English: "Here we are again - all of a lump! How are you?" There was no response to his salutation, for it was evidently incomprehensible; and so it fell flat, and the poor clown looked as if he would have given his salary for a boy to have called out "Hot codlins!" I looked at the bill, and found him described as the "Grottesco Inglese," Whittayne. I did not recognize the name in connection with the annals of Astley's, but he was a clever fellow, notwithstanding; and, when he addressed the master of the ring, and observed, "If you please, Mr Guillaume, he says, that you said, that I said, that they said, that nobody had said, nothing to anybody," it was with a drollery of manner that at last agitated the fezzes, like poppies in the wind, although the meaning of the speech was still like a sealed book to them.
'I don't know whether great writers of Eastern travel would have gone to this circus; but yet it was a strange sight. For aught that one could tell we were about to see all the mishaps of Billy Button's journey to Brentford represented in their vivid discomfort upon the shores of the Bosphorus, and within range of the sunset shadows from the minarets of St Sophia! The company was a very fair one, and they went through the usual programme of the amphitheatre. One clever fellow threw a bullet in the air, and caught it in a bottle during a "rapid act;" and another twisted himself amongst the rounds and legs of a chair, keeping a glass full of wine in his mouth. They leaped over lengths of stair-carpet, and through hoops, and did painful things as Olympic youths and Lion Vaulters of Arabia.
'The attraction of the evening, however, was a very handsome girl - Maddalena Guillaume - with a fine Gitana face and exquisite figure. Her performance consisted in clinging to a horse, with merely a strap hung to its side. In this she put one foot, and flew round the ring in the most reckless manner, leaping with the horse over poles and gates, and hanging on, apparently, by nothing, until the fezzes were in a quiver of delight, for her costume was not precisely that of the Stamboul ladies - in fact, very little was left to the imagination.'
I quote this passage for the purpose of showing that the wanderings of the men and women whose vocation it is to entertain the public as equestrians, clowns, acrobats, and jugglers are not confined to the limits within which actors and singers obtain foreign engagements. There are very few men or women of eminence in the profession who have not visited nearly every European capital, and many of them have made the tour of the world. Price's circus was for many years one of the most popular institutions of Madrid, and the Circo Price was to English circus artistes what Cape Horn is to American seamen. Tell an equestrian or an acrobat that you think you have seen him before, and he will ask, 'Was it at the Circo Price?' just as a Yankee sailor will snuffle, 'I guess it was round the Horn.’ To have appeared at the Hippodrome or the Cirque Imperiale is a very small distinction indeed, when so many have performed in Madrid and Naples, Berlin and St Petersburg, and not a few have traversed the United States from New York to San Francisco, and then crossed the ocean, and performed in Sydney and Melbourne, or Yokohama, Hong Kong, and Calcutta.
Circus performers wander about the world more generally, and to a greater extent, than the acrobats and jugglers who perform in music-halls, from whom they are separated into a distinct class by the requirements of circus engagements. All aspirants to saw-dust honours being engaged for 'general utility,’ it is necessary for them to understand the whole routine of circus business, whether their specialty is riding, vaulting, clowning, or any other branch. They are required to take part in vaulting acts, to hold hoops, balloons, banners, &c., which requires some practice before it can be done properly, and to line the entrance to the ring when a lady of the company flutters into it, or bows herself out of it. For this last duty, the proprietors of the best appointed circuses provide uniform dresses, which are worn by all the male members of the company, when not engaged in their performances, from the time the circus opens until they retire to the dressing room for the last time. I am speaking, of course, of those who form the permanent company of a circus, and not of those engaged, as 'stars,' for six or twelve nights.
The 'bright particular star' of the Amphitheatre, during the season of 1870, was the young lady known as Lulu, and who was recognized by frequenters of that popular place of entertainment as the agile and graceful child who had appeared, a few years previously, with her father, at the Alhambra and Cremorne, as 'the flying Farinis,' in a performance somewhat resembling that of the Brothers Hanlon and the child called 'Little Bob.' She was then supposed to be a boy, and much amusement was created after her appearance at the Amphitheatre as an avowed woman, by the recollection of her having, after descending from the lofty arrangement of trapezes and ladders on which she performed at the Alhambra, advanced to the footlights, and sang a song, each verse of which ended with the words, 'Wait till I'm a man.' The secret of her sex was at that time unknown even to the performers at the Alhambra, at least to the masculine portion, among whom the circumstance of her being accompanied by her mother, and performing the operations of the toilet in the ladies' dressing-room, was a frequent subject of wonder and speculation.
There was a doubt also about the sex of the child who for a long time did a gymnastic performance at the London Pavilion, very similar to that given by Olmar at the Alhambra. The child was announced as 'Little Corelli,' and was generally supposed to be a boy; but I have since heard that it was a girl.
The performances of Azella and Pereira had not satiated the public appetite for the feats of female gymnasts, and the manager of the Amphitheatre secured in Lulu a star of the first magnitude. Her triple somersault is a feat in which she is still unrivalled; and though George Conquest has since achieved her wonderful vertical spring of twenty-five feet from the ring-fence, the means by which it is accomplished is still a mystery. Lulu was succeeded by the Brothers Rizar, as they now chose to be called, though they had gained immense applause a few years previously at the Alhambra as the Brothers Rizareli. The double trapeze of these clever gymnasts is perfectly unique, and must be seen to be believed.
The Amphitheatre did not continue without a competitor for the patronage of that portion of the public which delights in witnessing feats of equestrianism and gymnastics. Hengler's circus, after being located for some time in Bristol, and afterwards in Dublin, settled down at the Palais Royal, in Argyle Street, and introduced to the metropolis all the Henglers and Powells, male and female, whose praises had been sounded by the provincial press all over the kingdom. The most noteworthy members of the company were Louise Hengler, an admirable horse-woman, who, like Adele Newsome, rides and leaps in a 'cross country' fashion, over hurdles and six-barred gates; James Lloyd, most experienced in his art, and one of the neatest, as well as of the boldest, of riders; John Milton Hengler, who danced on a tight-rope with a grace and skill which fully justified the warmth of the applause with which the performance was received; and Franks, the clown, who, before joining the Hengler troupe, had been the chief exponent of fun and humour attached to Newsome's circus.
The circumstance of John M. Hengler dispensing with the balancing-pole in his performance was mentioned by some of the newspaper critics as if it was unique; but every frequenter of the London music-halls must have observed the same feature in the similar performance of a member of the clever Elliott family.
Scarcely had the lovers of circus entertainments had time to solve the problem of the possibilities of success for two amphitheatres in London when Astley's was re-opened as a circus by the Sangers. Circus performances are necessarily so much alike that it is only by the production of a constant succession of novelties, as was done at the Holborn establishment, or by combining hippo-dramatic spectacles with the ring performances, as Ducrow and Batty did, that any distinctive character can be established. The Sangers followed the example of their predecessors, and preceded the acts in the arena by an equestrian drama of the kind which had been found attractive in the palmy days of Astley's. The ring performances were good, but presented no novelty. Lavinia Sanger deserved her tribute of applause as a skilful rider, who gracefully leaped over banners and boldly dashed through 'balloons;' and her brother's, or cousin's, feat of riding, or rather driving, a number of horses at once, in emulation of Ducrow, was very creditably performed, but who has not seen similar feats as well performed in every circus he has entered? We should be sorry to miss them; but they should be the 'padding' of the programme, and not its staple.
I have often heard the question asked, ‘What can be done upon a horse which has not been done before?' The question has been answered again and again by the equestrian feats of such masters of the art of equitation as Andrew Ducrow, Henry Adams, John Henry Cooke, Henry Welby Cooke, George Delavanti, James Robinson, and Alfred Bradbury. It is only by doing something which has never been done before, or by performing some feat in a very superior style to that of previous exhibitors, that a circus artiste can emerge from the ruck, whether he is a rider, a tumbler, a juggler, or a gymnast.
‘If you want to get your name up,' I said, several years ago, to a young gymnast, 'you must do something that has not been done before, and not be content with performing such feats as may be seen every night, in every music-hall in London.'
'What can we do?' he inquired.
'Ay, "there's the rub!" Only a gymnastic genius can answer the question. You may be sure that question was asked of themselves by Leotard, and Olmar, and Farini, and all the other fellows who have made their names famous, as the first performers of a skilful and daring feat. You know how they answered it, and what salaries they got. As in the story of Columbus and the egg, when a trick has once been done, there are many who can repeat it, but it is the first performer that gets the greatest fame and the highest salary.'
I must conclude this chapter with a brief notice of the changes and movements of the principal travelling circuses during the last ten years. In 1864, Franconi's was at Nottingham for a time, with Charlie Keith as clown and the Madlles Monfroid holding a conspicuous place among the equestrian members of the company. Newsome's circus was, later in the year, at Chester, as I find by the following passage in a local journal descriptive of a foxhunt: - 'The pace was terrific, and the country the stiffest in Cheshire. This description would be incomplete if I omitted to mention Miss Newsome, of the Chester Circus. This young lady astonished the whole field by the plucky way in which she rode. She unquestionably led the whole way, and never came to grief once. Straight was her motto, and straight she went; brook, hedge, and cop were cleared by her in a style never seen in Cheshire before, and when Reynard was deprived of his brush, it was most deservedly presented to her amidst the cheers of all present.'
The movements of this circus during the following year are related, in another chapter, by a gentleman who was at that time a member of the company. In the spring of 1870, Messrs Sanger, whose circus is the largest and most complete tenting establishment travelling in this country, were threatened with a formidable rivalry by the appearance in the field of the great American circus of Howes and Cushing. How they met it is thus told by Mr Montague, who was then their agent in advance:
'It is well known that two large tenting concerns will not pay in England. Under these circumstances, Messrs Sanger determined to drive the Yankees off the road, which we ultimately succeeded in doing. Our mode of fighting them was to bill all the towns taken by them as though we were coming the following day, it being known to us that English people will always wait for the last circus, when two or more companies are advertised at the same time. Our next move was to take all the best towns in the North first. We succeeded so well with this mode of operation that we ultimately performed in the same town with them, namely, Preston, in Lancashire. On this memorable occasion, showmen came from all parts of England, two such concerns never having been seen in one town on the same day. Messrs Howes and Cushing acknowledged themselves beaten, and shortly afterwards returned to America.'
William Darby, better known as Pablo Fanque, died in the following year, at the ripe age of seventy-five. Charles Hengler had adopted the plan so successfully followed by Newsome, of locating his circus in permanent buildings, maintaining several for the purpose, and remaining several months at each place. The principal members of his company in 1873, were Miss Jenny Louise Hengler, Miss Cottrell, John Henry Cooke, Hubert Cooke, William Powell, Herr Oscar, the Hogini family, the Brothers Alexander, and the clowns, Bibb and 'Little Sandy.' Newsome's company comprised, at the same time, in addition to the clever ladies of his family, Charles and Andrew Ducrow (descendants of the great equestrian of that name), Hubert Mears, Fredericks, and the gymnast known as Avolo.
Sanger's is the only great circus which follows the tenting system, which can be successfully pursued only by those who possess a numerous stud of showy horses. A less powerful company than Hengler or Newsome finds necessary will do, because, the performances being given only two nights in a town, the programme does not require to be changed so frequently as when the company perform every night for a period of three months in the same place; and the horses may be ridden in parades by the grooms and their wives or daughters. But the public do not believe in a tenting circus, unless its resources are put forth in a parade, for which purpose a large number of horses are required, with a handsome band-carriage, an elephant, and a couple of camels. The cost of maintaining such an establishment is so great that the system cannot be successfully pursued without a large capital, and the most complete and efficient organization. Without both these requisites a bad season will ruin the proprietor, as many have found by sad experience.

http://www.circushistory.org/Frost/Frost10.htm

 

Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter XI.
Reminiscences of the Henglers - The Rope-dancing Henglers at Astley's - Circus of Price and Powell - Its Acquisition by the Henglers - Clerical Presentation to Frowde, the Clown - Circus Difficulties at Liverpool - Retirement of Edward Hengler - Rivalry of Howes and Cushing - Discontinuance of the Tenting System - Miss Jenny Louise Hengler - Conversion of the Palais Royal into an Amphitheatre - Felix Rivolti, the Ring-master.
CONSCIOUS as I am of the imperfections of the foregoing record of circus performances in this country, it is a relief to my mind to be enabled to supplement the history with some further particulars concerning the establishments so long, and with such well-deserved success, conducted by the gentlemen who bear the renowned names of Hengler and Sanger. I am indebted for the following memoir of the Henglers to a gentleman well known in the equestrian profession, and who has for many years held the important position of acting-manager in one of the best-appointed and most admirably-conducted circuses in this country.
Mr Charles Hengler, the proprietor of the cirque in Argyle Street, may be said to have been born to the equestrian profession, his father having been a celebrated tight-rope dancer with Ducrow, in whose service he remained for several years; and thus had an opportunity of teaching his sons his own profession.
Edward Henry Hengler, the eldest, became famous in England and on the Continent under the title of Herr Hengler, and was the most celebrated professor of that art in his day. He died a few years since. John Milton Hengler, a younger son, inherited the family talent, and also became famous in America, and on the Continent. He came to England on the retirement of his elder brother, and was considered a worthy successor. A few years ago he retired from active service, and opened a riding school in Liverpool, where he is still residing, highly respected and esteemed by all who know him. Charles Hengler was, fortunately for him, too tall to follow in the footsteps of his brothers, so his father determined to make him the business man of the family, and his present position is ample proof of his father's success in so doing.
After leaving Ducrow, Hengler, with his sons, joined the circus of Price and Powell - Powell having married one of his daughters. Here they remained some time, Charles attending to the business department, and his father and brothers performing in the ring. As the showman's life is, at the best, a very precarious one, Price and Powell got into difficulties while performing at Greenwich, and were consequently obliged to dispose of their concern, which was purchased by Charles and Edward Hengler. Price went abroad, and Powell, who was an excellent equestrian, accepted an engagement with the new proprietors, who carried on the business for several years with varied success, sometimes making money, and as frequently losing what they had worked so hard to obtain. It must be remarked that in those days equestrianism was not so popular as it has since become, and there were two men in the business who carried all before them, namely, Ducrow and Batty; so young and struggling beginners had a hard battle to fight, the best towns in England being in the possession of the former. But, as usual in all such cases, courage and perseverance, combined with honesty of purpose and strict attention to business, ultimately met its reward; for Henglers' circus at last made a name for itself, being the most respectably conducted establishment of that class travelling the provinces.
During the summer months they 'tented,' and in the winter erected temporary wooden buildings in populous towns, in which the second visit was invariably more remunerative than the previous one - a sufficient proof of the high estimation in which the company were held. This is not to be wondered at, when it is stated that several performers, who were then with Mr Hengler, are yet on his establishment; notably, Mr James Franks, one of the best clowns in his line of business of this or any other day. Also Mr Bridges, Mr Powell, and a few others. Of course, with the exception of Mr Powell, they were very young men when they first joined him. There was also another very clever clown on the establishment, of whom I must say a few words. This was James Frowde, a nephew of the proprietors. This gentleman, who several years since retired from the equestrian profession, was an immense favourite with all classes. His appearance in the ring was invariably greeted with acclamations, and in private life his company was sought by many of the most respectable members of the community. To give some idea of the popularity of this gentleman, I may state that while the company were located in Chester in 1856, several clergymen presented him with a very valuable Bible. This was made the subject of an eulogistic paragraph in Punch, in which the recipient and the donors were equally complimented - the one for deserving such a testimonial, the others for their liberal appreciation of his conduct as clown, Christian, and gentleman. It would be well if more of our divines followed so excellent an example; not necessarily by presenting Bibles, for the poor player not only possesses the book, but in most instances acts up to its teachings.
It was while residing in Chester that Mr Hengler obtained the patronage of the Marquis of Westminster; of course on previous occasions he had been patronized by many distinguished personages, and this particular instance is mentioned only because it was the source of Mr Hengler's gaining a footing in Liverpool. I may here be allowed to quote a short paragraph which appeared in the Chester Observer:
'HENGLER'S CIRQUE. - The patronage and presence of the Mayor at this admirably-conducted place of entertainment on Tuesday last filled the building to overflowing. . . Last night the performances were under the patronage of Earl Grosvenor, M. P. In the morning the Marquis of Westminster honoured the establishment with his patronage and presence, the noble lord kindly and duly appreciating the just claim that Mr Hengler has on the public as regards talent, attraction, and propriety, and so, with his usual discretion and sound judgment, took this opportunity to signify to Mr Henry, the manager, his conscientious approval of Mr Hengler's admirably-conducted establishment.' Mr Hengler also received a letter from the Marquis conveying a similar opinion.
For several years it had been the desire of Mr Hengler and other equestrian managers to obtain permission from the authorities of Liverpool to erect a temporary circus in that town. Applications were frequently made, and as frequently refused. The invariable answer was, 'If you wish to perform in this town, you must make an arrangement with Mr Copeland; he has the Amphitheatre, and we cannot allow any one to oppose him.' Now although the Amphitheatre, as its name imports, had been originally built for equestrian performances, they had with one or two exceptions, and these in its earliest days, proved failures. Of course no manager possessing the knowledge of Mr Hengler would risk going there, especially as the best arrangement it was possible to make with the then proprietor was something like 'Heads I win, tails you lose.' I think I am not far wrong in stating that Mr Hengler had made seven or eight applications; and invariably received a similar reply, 'You can't be allowed to build here. The Amphitheatre is open to you; go there, or go away.' Armed with the Marquis of Westminster's letter, and several other valuable testimonials, Mr Hengler determined to make one more trial; with what success I shall presently show.
A piece of ground, the property of the corporation, was vacant in Dale Street, and was a capital site for the erection of a temporary circus.
Mr Hengler, and his architect, Mr O'Hara, went to Liverpool, and obtained an interview with the then Mayor, a celebrated builder and a liberal-minded gentleman.
The testimonials were shown and a promise was made, that, at the next meeting of the Council, Mr Hengler's request should be brought forward, and that the Mayor would assist him by using his influence. With this Mr Hengler was compelled to be satisfied.
From Chester, Mr Hengler went to Bradford, on which occasion the following paragraph appeared in the Leeds Mercury, of January 10, 1857 -
'Mr Hengler's Establishment receives, as it deserves, the patronage of immense audiences. The performances are so unique and varied, that they cannot fail to please; while it is gratifying to perceive the strict care that is taken to prevent anything that could offend the most fastidious. The generality of such entertainments are more or less loose in their morality; but the able and correct manner in which these performances are conducted is testified by the fact, that they have met with the approbation of the local clergy. The Rev. Vicar patronizes the performance on Monday next. And on that occasion Mr Hengler affords free admission to the day-schools connected with the Church of England.' This, of course, was of great value to Mr Hengler; and the authorities at Liverpool were duly apprised of it; and, in a few days, the welcome intelligence was conveyed to Mr Hengler that his request had been complied with, and Mr O'Hara was started off to make arrangements for the erection of the circus. This he soon succeeded in doing, Messrs Holmes and Nicol, the eminent builders, undertaking its erection.
This circus was opened by Mr Hengler on March the 15th, 1857. To give some idea of its style and appointments, I cannot do better than quote the following description from the Liverpool Daily Mail of March 20th, 1857.
‘HENGLER'S CIRQUE VARIETIES. - During the present week Mr Charles Hengler has opened, in Dale Street, a handsome, commodious, and spacious theatre, devoted to equestrian performances, which has been constructed by Messrs Holmes and Nicol of this town, on the model of Franconi's famous Cirque, in the Champs Elysees, Paris. The building, though of a temporary character, is most admirably suited for the purpose for which it is designed; and while accommodating an immense number of spectators, who can all easily witness the performances, the ventilation is perfect, and with an entire absence of draughts. There is nothing to offend the senses of smell or sight. The audience is placed in compartments round the circle; the frequenters of the boxes being seated on cushioned chairs, with a carpeted flooring under their feet. The compartments entitled pit and gallery are also very comfortable, while round the whole building runs a spacious promenade. The ceiling is covered with coloured folds of chintz, which give a brilliant and cleanly appearance; and the pillars supporting the roof are neatly papered, and ornamented with flags and shields. The whole aspect is, in fact, what has long been a desideratum in this country, and we regret it will have to be pulled down again in a few months.
'With respect to the performances, we can only speak most highly; they are decidedly the best we have witnessed here since the appearance of the French Company.
'The horses are beautiful and well trained, the grooms smart and natty, and the dresses of all connected with the establishment new and tasteful. We have not space to mention a tithe of the performances, which present many novelties, and display the varied talent of the company to great advantage; the gentlemen being all daring and skilful, and the ladies, equally clever, yet modest and charming. In fact, we can strongly recommend our readers to pay a visit to Mr Hengler's circus; for, as we were surprised and delighted ourselves, we feel assured that no one can regret patronizing an entertainment so harmless, pleasing, and exciting!’
In one respect, the writer of the above paragraph made a mistake, for, although the circus was originally intended to be a temporary building, the success was so great that it remained standing for five years, Mr Hengler visiting Liverpool for four months each winter. At this time the company comprised William Powell, Anthony and John Bridges, the Brothers Francisco, the clowns Frowde, Hogini, and Bibb, Ferdinand and Eugene, Madame Bridges, Miss Adrian, etc. The performing horses were introduced by Mr Hengler. Previous to Mr Hengler visiting Liverpool, the partnership terminated between him and his brother Edward, the latter having realized sufficient to retire from the profession.
The ground in Dale Street being wanted by the corporation for building purposes, Mr Hengler obtained a site for the erection of a building in Newington, and a lease of the ground for seven years. He here built a very fine and capacious cirque, the builders who erected the one in Dale Street undertaking the contract. It was to be a brick building; and they were under heavy penalties to get it completed by a certain time. Unfortunately for them, they had no sooner commenced, than a strike took place amongst the brick-makers; and the builders had to appeal to Mr Hengler, who allowed them to erect a wooden structure, they agreeing to erect, at the expiration of the strike brick walls around it, which was done.
Here Mr Hengler remained for seven years, the term of his lease. The ground was then required for a new railway, and he had to leave Liverpool, not being able to find a site adapted to his purpose. While Mr Hengler remained here, several other circuses attempted to oppose him, the authorities, who had remained inflexible for so many years, granting indiscriminate permission to whoever applied to them. All of them failed, and soon left the town. A notable example occurred in one especial case.
Howes and Cushing, the American equestrian managers, chartered a vessel, and landed at Liverpool with the largest company and stud that had ever visited these shores. They obtained the best position in Liverpool for the erection of their tent: and this, only after Mr Hengler had been open in Dale Street about one month. They inundated the town with their large pictorial posters, paid fabulous sums for fronts and sides of houses on which to have them affixed. Liverpool really went Howes and Cushing mad. The American colours were flying from every house in which any of the company lodged. Columns of advertisements were in all the Liverpool newspapers; and the day upon which they advertised to parade the town every house in the line of procession was closed. The streets were crowded; all Liverpool seemed to have congregated on the line of route. Special trains came from the surrounding districts.
The procession was certainly a noble one. A huge car, in which the band was seated, was drawn by forty horses, driven in hand. The whole of the company, a very extensive one, was placed in the other cars, which were elaborately carved and gilt. The pageant terminated with a procession of Indians, and a huge musical instrument which was played by steam power. And what was the result? The morning after their first performance the papers were unanimous in saying Mr Hengler's entertainment was far superior. One of them stated that 'the greatest circus in America has met more than its match in Liverpool.' They remained but two weeks; the business falling off very considerably, while Mr Hengler's increased nightly.
After a few very successful seasons in Liverpool Mr Hengler discontinued the tenting business in the summer months, - never to him a very congenial occupation, and erected large buildings in several important towns, notably, Edinburgh, Glasgow, Dublin, and Hull. Those in Glasgow and Hull are still in existence; and, when not occupied by the proprietor, are let for concerts, and entertainments of a similar character.
In 1865 Mr Hengler was offered an engagement at Cremorne Gardens, where there was a very fine building, originally erected for equestrian purposes, but used latterly for exhibiting a Stereorama, which proved a great failure, although the paintings were by those eminent artists, Grieve and Telbin. For several years Mr Hengler had been desirous of performing before a London audience, and thought this a good opportunity of feeling the pulse of the metropolitan public. He therefore came to terms with the then proprietor, Mr E. T. Smith; but, even in those days, Cremorne was in its decadence, and the engagement was neither pleasant to Mr Hengler nor his company. With the exception of one or two miserable attempts, circus performers bade a final adieu to a place which has lately gained such unenviable notoriety. After leaving Cremorne Mr Hengler went to Hull, where he had a most successful season.
It may be a matter of surprise to many people that Mr Hengler never brought any of his family (a very numerous one) up to the equestrian business, with the exception of his daughter, Miss Jenny Louise. He was always desirous that they should receive a good education. Now it would be almost an impossibility to combine the two things, for, at the very time children should be studying their lessons in school, they would be compelled to be practising in the ring, and performing at night, as Infant Prodigies, Lightning Lilliputians, or Bounding Brothers. Then how about Miss Jenny Louise? it may be asked. That young lady did not commence riding before the public until she was eighteen years of age; but she had such an intense desire to become an equestrienne, that she learned, under her father's tuition, more in one year, than many others would have learned in a lifetime. She was naturally graceful, very feminine, and she possessed the necessary nerve and firmness. She was always most deservedly an immense favourite with the public, her skilful horsemanship and charmingly graceful appearance never failing to secure her hosts of admirers of both sexes.
I now come to Mr Hengler's second appearance in London, which had such a different result to the previous one, as will be shown in the sequel. In 1871, a gutta percha merchant, who had made several ventures in the equestrian business, obtained possession of the Palais Royal in Argyle Street, the site of the present cirque, and wished Mr Hengler to join him. Mr Hengler took time to consider the proposal, which after due consideration he declined, the previous experiments of the gutta percha merchant in the equestrian business having invariably proved so unsuccessful that his shows became known amongst equestrians as the Gutta Percha Circus, an appropriate title, they having in most instances so suddenly collapsed.
After some difficulty, Mr Hengler succeeded in obtaining possession of the Palais Royal, as it was then called, and speedily converted it into the elegant theatre, so admirably adapted for its present purposes, which was opened in the autumn of 1871. His first season was not a profitable one, in a pecuniary sense; and this, in a great measure, is to be accounted for by the fact, that circus entertainments in London had become very unpopular. In the first place, the circus in Holborn had been badly managed, the proprietors not understanding the business. In this year it was again opened by one of the former proprietors, and the season not having proved profitable, the place was soon closed.
In 1872 it was opened under the auspices of the gutta percha merchant, though his name did not appear publicly in the matter. Astley's also opened under the management of the Brothers Sanger, gentlemen of great experience in the profession, and who, as a matter of course, were formidable rivals. There were now 'three Richmonds in the field,' and, as Mr Hengler, although popular in the provinces, was not known to any great extent in London, he had to bide his time, until the superiority of his entertainments became known and appreciated. At any rate he had sown the seed; the harvest was to be gathered hereafter. All who visited the place were delighted with the high character of the entertainments. Everything was neat and elegant; the horses were considered, by good judges, to be far superior to those usually exhibited in places of this description. Miss Jenny Louise Hengler had already become a great favourite with lovers of high-class riding.
At Christmas, Cinderella, with a host of juveniles, was for the first time produced in a London Cirque. Everybody who witnessed it left the place delighted; and it became the talk of London. The mid-day performances were invariably well attended, and by the best families in London and its suburbs; but Mr Hengler's expenses were very great, and the receipts, though good, were not commensurate with his outlay and risk. He remained in London until the beginning of May, and then went into the provinces, where he met with his usual success.
In November, 1872, he again opened the Cirque in Argyle Street, to which he brought a very clever company, the principal features being Miss Jenny Louise Hengler, 'Little Sandy,' who made his first appearance in London, and the performing horses. This season, the Prince and Princess of Wales and family honoured the Cirque with a visit, and expressed themselves highly delighted with the entertainment. Mr Joe Bibb, another very clever grotesque and clown, appeared during this season, and soon became popular. Mr H. B. Williams, a lyrical jester, was also a favourite. Mr Charles Fish, an American rider, made his first appearance in England, and created a sensation.
At Christmas', Jack the Giant Killer was produced, with an army of forty juveniles, whose evolutions were highly commended. This season was a very profitable one, although the circus in Holborn and Astley's were open at the same time. Mr Hengler remained until the beginning of March, when he left for Dublin.
After visiting several towns, he returned to London in November, 1873. This was a very successful season - several new engagements having been effected, notably Mr William Bell, one of the best, if not the very best, equestrians in the profession, and Mr Lloyd, another extraordinary rider. Little Sandy now became, if possible, more popular than before; and the portrait of Miss Jenny Louise Hengler was in all the photographers' windows, and in everybody's album.
Mr Felix Rivolti, the genial ring-master who had been with Mr Hengler, with the exception of a few months, about eighteen years, was still in great force. This gentleman had the happy knack of pleasing all audiences, as one half invariably laughed with him, the other half as certainly laughed at him. Very good judges considered him the best ring-master since the celebrated Widdicomb delighted his audiences at Astley's.
Observe with what a self-sufficient smirk Rivolti enters the arena, gracefully handing in the young lady; see how he places her on her horse, and then looks round the house, as much as to say, 'In one minute you will be delighted to see what I can make her do.' He cracks his whip, the horse starts into a canter, the young lady leaps from his back, over garlands, through hoops, etc., etc., when the horse stops, and while the audience are applauding, how happy Rivolti appears! He looks around as much as to say to the audience, 'I told you I could do it. But wait a minute. You see this clown; now I am going to make him do all manner of funny things.' Then 'Little Sandy' performs some of his quaint tricks as only 'Little Sandy' can, and while the audience are laughing and applauding, with what complacency Rivolti looks at them, every feature in his face beaming with gratification. His many admirers will be sorry to hear that he has for the present left the profession, to which, however, he will probably soon return.
Mr John Henry Cooke returned from America this year, and again joined Mr Hengler's Company. Cinderella was reproduced for the Christmas holidays, and with greater splendour than on the previous occasion. Large audiences visited the circus, and the season proved a very profitable one. The Prince and Princess of Wales and family again visited the cirque. From London Mr Hengler and his company went to Dublin, and from thence to Hull and Glasgow, returning to London to open for the fourth season in December 1874. The company was of the usual excellence, including a new importation from America, Mr Wooda Cook, a very clever equestrian; 'Little Sandy,' and Mr Barry, a very pleasing lyrical jester, a great favourite in America, where he has been located several years. The other performers are all excellent. The great feature for the Christmas holidays was a new pantomime, entitled Little Red Riding Hood, performed (with the exception of ‘Little Sandy,' who enacts the Wicked Wolf) entirely by children, original music being composed by Messieurs Riviere and Stanislaus. The idea of this piece is entirely original, nothing of a similar description having been produced in the arena. The cirque is crowded at every representation, and the present promises to be a greater success than either of Mr Hengler's previous seasons in Argyle Street.


Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter XI.
Reminiscences of the Henglers - The Rope-dancing Henglers at Astley's - Circus of Price and Powell - Its Acquisition by the Henglers - Clerical Presentation to Frowde, the Clown - Circus Difficulties at Liverpool - Retirement of Edward Hengler - Rivalry of Howes and Cushing - Discontinuance of the Tenting System - Miss Jenny Louise Hengler - Conversion of the Palais Royal into an Amphitheatre - Felix Rivolti, the Ring-master.
CONSCIOUS as I am of the imperfections of the foregoing record of circus performances in this country, it is a relief to my mind to be enabled to supplement the history with some further particulars concerning the establishments so long, and with such well-deserved success, conducted by the gentlemen who bear the renowned names of Hengler and Sanger. I am indebted for the following memoir of the Henglers to a gentleman well known in the equestrian profession, and who has for many years held the important position of acting-manager in one of the best-appointed and most admirably-conducted circuses in this country.
Mr Charles Hengler, the proprietor of the cirque in Argyle Street, may be said to have been born to the equestrian profession, his father having been a celebrated tight-rope dancer with Ducrow, in whose service he remained for several years; and thus had an opportunity of teaching his sons his own profession.
Edward Henry Hengler, the eldest, became famous in England and on the Continent under the title of Herr Hengler, and was the most celebrated professor of that art in his day. He died a few years since. John Milton Hengler, a younger son, inherited the family talent, and also became famous in America, and on the Continent. He came to England on the retirement of his elder brother, and was considered a worthy successor. A few years ago he retired from active service, and opened a riding school in Liverpool, where he is still residing, highly respected and esteemed by all who know him. Charles Hengler was, fortunately for him, too tall to follow in the footsteps of his brothers, so his father determined to make him the business man of the family, and his present position is ample proof of his father's success in so doing.
After leaving Ducrow, Hengler, with his sons, joined the circus of Price and Powell - Powell having married one of his daughters. Here they remained some time, Charles attending to the business department, and his father and brothers performing in the ring. As the showman's life is, at the best, a very precarious one, Price and Powell got into difficulties while performing at Greenwich, and were consequently obliged to dispose of their concern, which was purchased by Charles and Edward Hengler. Price went abroad, and Powell, who was an excellent equestrian, accepted an engagement with the new proprietors, who carried on the business for several years with varied success, sometimes making money, and as frequently losing what they had worked so hard to obtain. It must be remarked that in those days equestrianism was not so popular as it has since become, and there were two men in the business who carried all before them, namely, Ducrow and Batty; so young and struggling beginners had a hard battle to fight, the best towns in England being in the possession of the former. But, as usual in all such cases, courage and perseverance, combined with honesty of purpose and strict attention to business, ultimately met its reward; for Henglers' circus at last made a name for itself, being the most respectably conducted establishment of that class travelling the provinces.
During the summer months they 'tented,' and in the winter erected temporary wooden buildings in populous towns, in which the second visit was invariably more remunerative than the previous one - a sufficient proof of the high estimation in which the company were held. This is not to be wondered at, when it is stated that several performers, who were then with Mr Hengler, are yet on his establishment; notably, Mr James Franks, one of the best clowns in his line of business of this or any other day. Also Mr Bridges, Mr Powell, and a few others. Of course, with the exception of Mr Powell, they were very young men when they first joined him. There was also another very clever clown on the establishment, of whom I must say a few words. This was James Frowde, a nephew of the proprietors. This gentleman, who several years since retired from the equestrian profession, was an immense favourite with all classes. His appearance in the ring was invariably greeted with acclamations, and in private life his company was sought by many of the most respectable members of the community. To give some idea of the popularity of this gentleman, I may state that while the company were located in Chester in 1856, several clergymen presented him with a very valuable Bible. This was made the subject of an eulogistic paragraph in Punch, in which the recipient and the donors were equally complimented - the one for deserving such a testimonial, the others for their liberal appreciation of his conduct as clown, Christian, and gentleman. It would be well if more of our divines followed so excellent an example; not necessarily by presenting Bibles, for the poor player not only possesses the book, but in most instances acts up to its teachings.
It was while residing in Chester that Mr Hengler obtained the patronage of the Marquis of Westminster; of course on previous occasions he had been patronized by many distinguished personages, and this particular instance is mentioned only because it was the source of Mr Hengler's gaining a footing in Liverpool. I may here be allowed to quote a short paragraph which appeared in the Chester Observer:
'HENGLER'S CIRQUE. - The patronage and presence of the Mayor at this admirably-conducted place of entertainment on Tuesday last filled the building to overflowing. . . Last night the performances were under the patronage of Earl Grosvenor, M. P. In the morning the Marquis of Westminster honoured the establishment with his patronage and presence, the noble lord kindly and duly appreciating the just claim that Mr Hengler has on the public as regards talent, attraction, and propriety, and so, with his usual discretion and sound judgment, took this opportunity to signify to Mr Henry, the manager, his conscientious approval of Mr Hengler's admirably-conducted establishment.' Mr Hengler also received a letter from the Marquis conveying a similar opinion.
For several years it had been the desire of Mr Hengler and other equestrian managers to obtain permission from the authorities of Liverpool to erect a temporary circus in that town. Applications were frequently made, and as frequently refused. The invariable answer was, 'If you wish to perform in this town, you must make an arrangement with Mr Copeland; he has the Amphitheatre, and we cannot allow any one to oppose him.' Now although the Amphitheatre, as its name imports, had been originally built for equestrian performances, they had with one or two exceptions, and these in its earliest days, proved failures. Of course no manager possessing the knowledge of Mr Hengler would risk going there, especially as the best arrangement it was possible to make with the then proprietor was something like 'Heads I win, tails you lose.' I think I am not far wrong in stating that Mr Hengler had made seven or eight applications; and invariably received a similar reply, 'You can't be allowed to build here. The Amphitheatre is open to you; go there, or go away.' Armed with the Marquis of Westminster's letter, and several other valuable testimonials, Mr Hengler determined to make one more trial; with what success I shall presently show.
A piece of ground, the property of the corporation, was vacant in Dale Street, and was a capital site for the erection of a temporary circus.
Mr Hengler, and his architect, Mr O'Hara, went to Liverpool, and obtained an interview with the then Mayor, a celebrated builder and a liberal-minded gentleman.
The testimonials were shown and a promise was made, that, at the next meeting of the Council, Mr Hengler's request should be brought forward, and that the Mayor would assist him by using his influence. With this Mr Hengler was compelled to be satisfied.
From Chester, Mr Hengler went to Bradford, on which occasion the following paragraph appeared in the Leeds Mercury, of January 10, 1857 -
'Mr Hengler's Establishment receives, as it deserves, the patronage of immense audiences. The performances are so unique and varied, that they cannot fail to please; while it is gratifying to perceive the strict care that is taken to prevent anything that could offend the most fastidious. The generality of such entertainments are more or less loose in their morality; but the able and correct manner in which these performances are conducted is testified by the fact, that they have met with the approbation of the local clergy. The Rev. Vicar patronizes the performance on Monday next. And on that occasion Mr Hengler affords free admission to the day-schools connected with the Church of England.' This, of course, was of great value to Mr Hengler; and the authorities at Liverpool were duly apprised of it; and, in a few days, the welcome intelligence was conveyed to Mr Hengler that his request had been complied with, and Mr O'Hara was started off to make arrangements for the erection of the circus. This he soon succeeded in doing, Messrs Holmes and Nicol, the eminent builders, undertaking its erection.
This circus was opened by Mr Hengler on March the 15th, 1857. To give some idea of its style and appointments, I cannot do better than quote the following description from the Liverpool Daily Mail of March 20th, 1857.
‘HENGLER'S CIRQUE VARIETIES. - During the present week Mr Charles Hengler has opened, in Dale Street, a handsome, commodious, and spacious theatre, devoted to equestrian performances, which has been constructed by Messrs Holmes and Nicol of this town, on the model of Franconi's famous Cirque, in the Champs Elysees, Paris. The building, though of a temporary character, is most admirably suited for the purpose for which it is designed; and while accommodating an immense number of spectators, who can all easily witness the performances, the ventilation is perfect, and with an entire absence of draughts. There is nothing to offend the senses of smell or sight. The audience is placed in compartments round the circle; the frequenters of the boxes being seated on cushioned chairs, with a carpeted flooring under their feet. The compartments entitled pit and gallery are also very comfortable, while round the whole building runs a spacious promenade. The ceiling is covered with coloured folds of chintz, which give a brilliant and cleanly appearance; and the pillars supporting the roof are neatly papered, and ornamented with flags and shields. The whole aspect is, in fact, what has long been a desideratum in this country, and we regret it will have to be pulled down again in a few months.
'With respect to the performances, we can only speak most highly; they are decidedly the best we have witnessed here since the appearance of the French Company.
'The horses are beautiful and well trained, the grooms smart and natty, and the dresses of all connected with the establishment new and tasteful. We have not space to mention a tithe of the performances, which present many novelties, and display the varied talent of the company to great advantage; the gentlemen being all daring and skilful, and the ladies, equally clever, yet modest and charming. In fact, we can strongly recommend our readers to pay a visit to Mr Hengler's circus; for, as we were surprised and delighted ourselves, we feel assured that no one can regret patronizing an entertainment so harmless, pleasing, and exciting!’
In one respect, the writer of the above paragraph made a mistake, for, although the circus was originally intended to be a temporary building, the success was so great that it remained standing for five years, Mr Hengler visiting Liverpool for four months each winter. At this time the company comprised William Powell, Anthony and John Bridges, the Brothers Francisco, the clowns Frowde, Hogini, and Bibb, Ferdinand and Eugene, Madame Bridges, Miss Adrian, etc. The performing horses were introduced by Mr Hengler. Previous to Mr Hengler visiting Liverpool, the partnership terminated between him and his brother Edward, the latter having realized sufficient to retire from the profession.
The ground in Dale Street being wanted by the corporation for building purposes, Mr Hengler obtained a site for the erection of a building in Newington, and a lease of the ground for seven years. He here built a very fine and capacious cirque, the builders who erected the one in Dale Street undertaking the contract. It was to be a brick building; and they were under heavy penalties to get it completed by a certain time. Unfortunately for them, they had no sooner commenced, than a strike took place amongst the brick-makers; and the builders had to appeal to Mr Hengler, who allowed them to erect a wooden structure, they agreeing to erect, at the expiration of the strike brick walls around it, which was done.
Here Mr Hengler remained for seven years, the term of his lease. The ground was then required for a new railway, and he had to leave Liverpool, not being able to find a site adapted to his purpose. While Mr Hengler remained here, several other circuses attempted to oppose him, the authorities, who had remained inflexible for so many years, granting indiscriminate permission to whoever applied to them. All of them failed, and soon left the town. A notable example occurred in one especial case.
Howes and Cushing, the American equestrian managers, chartered a vessel, and landed at Liverpool with the largest company and stud that had ever visited these shores. They obtained the best position in Liverpool for the erection of their tent: and this, only after Mr Hengler had been open in Dale Street about one month. They inundated the town with their large pictorial posters, paid fabulous sums for fronts and sides of houses on which to have them affixed. Liverpool really went Howes and Cushing mad. The American colours were flying from every house in which any of the company lodged. Columns of advertisements were in all the Liverpool newspapers; and the day upon which they advertised to parade the town every house in the line of procession was closed. The streets were crowded; all Liverpool seemed to have congregated on the line of route. Special trains came from the surrounding districts.
The procession was certainly a noble one. A huge car, in which the band was seated, was drawn by forty horses, driven in hand. The whole of the company, a very extensive one, was placed in the other cars, which were elaborately carved and gilt. The pageant terminated with a procession of Indians, and a huge musical instrument which was played by steam power. And what was the result? The morning after their first performance the papers were unanimous in saying Mr Hengler's entertainment was far superior. One of them stated that 'the greatest circus in America has met more than its match in Liverpool.' They remained but two weeks; the business falling off very considerably, while Mr Hengler's increased nightly.
After a few very successful seasons in Liverpool Mr Hengler discontinued the tenting business in the summer months, - never to him a very congenial occupation, and erected large buildings in several important towns, notably, Edinburgh, Glasgow, Dublin, and Hull. Those in Glasgow and Hull are still in existence; and, when not occupied by the proprietor, are let for concerts, and entertainments of a similar character.
In 1865 Mr Hengler was offered an engagement at Cremorne Gardens, where there was a very fine building, originally erected for equestrian purposes, but used latterly for exhibiting a Stereorama, which proved a great failure, although the paintings were by those eminent artists, Grieve and Telbin. For several years Mr Hengler had been desirous of performing before a London audience, and thought this a good opportunity of feeling the pulse of the metropolitan public. He therefore came to terms with the then proprietor, Mr E. T. Smith; but, even in those days, Cremorne was in its decadence, and the engagement was neither pleasant to Mr Hengler nor his company. With the exception of one or two miserable attempts, circus performers bade a final adieu to a place which has lately gained such unenviable notoriety. After leaving Cremorne Mr Hengler went to Hull, where he had a most successful season.
It may be a matter of surprise to many people that Mr Hengler never brought any of his family (a very numerous one) up to the equestrian business, with the exception of his daughter, Miss Jenny Louise. He was always desirous that they should receive a good education. Now it would be almost an impossibility to combine the two things, for, at the very time children should be studying their lessons in school, they would be compelled to be practising in the ring, and performing at night, as Infant Prodigies, Lightning Lilliputians, or Bounding Brothers. Then how about Miss Jenny Louise? it may be asked. That young lady did not commence riding before the public until she was eighteen years of age; but she had such an intense desire to become an equestrienne, that she learned, under her father's tuition, more in one year, than many others would have learned in a lifetime. She was naturally graceful, very feminine, and she possessed the necessary nerve and firmness. She was always most deservedly an immense favourite with the public, her skilful horsemanship and charmingly graceful appearance never failing to secure her hosts of admirers of both sexes.
I now come to Mr Hengler's second appearance in London, which had such a different result to the previous one, as will be shown in the sequel. In 1871, a gutta percha merchant, who had made several ventures in the equestrian business, obtained possession of the Palais Royal in Argyle Street, the site of the present cirque, and wished Mr Hengler to join him. Mr Hengler took time to consider the proposal, which after due consideration he declined, the previous experiments of the gutta percha merchant in the equestrian business having invariably proved so unsuccessful that his shows became known amongst equestrians as the Gutta Percha Circus, an appropriate title, they having in most instances so suddenly collapsed.
After some difficulty, Mr Hengler succeeded in obtaining possession of the Palais Royal, as it was then called, and speedily converted it into the elegant theatre, so admirably adapted for its present purposes, which was opened in the autumn of 1871. His first season was not a profitable one, in a pecuniary sense; and this, in a great measure, is to be accounted for by the fact, that circus entertainments in London had become very unpopular. In the first place, the circus in Holborn had been badly managed, the proprietors not understanding the business. In this year it was again opened by one of the former proprietors, and the season not having proved profitable, the place was soon closed.
In 1872 it was opened under the auspices of the gutta percha merchant, though his name did not appear publicly in the matter. Astley's also opened under the management of the Brothers Sanger, gentlemen of great experience in the profession, and who, as a matter of course, were formidable rivals. There were now 'three Richmonds in the field,' and, as Mr Hengler, although popular in the provinces, was not known to any great extent in London, he had to bide his time, until the superiority of his entertainments became known and appreciated. At any rate he had sown the seed; the harvest was to be gathered hereafter. All who visited the place were delighted with the high character of the entertainments. Everything was neat and elegant; the horses were considered, by good judges, to be far superior to those usually exhibited in places of this description. Miss Jenny Louise Hengler had already become a great favourite with lovers of high-class riding.
At Christmas, Cinderella, with a host of juveniles, was for the first time produced in a London Cirque. Everybody who witnessed it left the place delighted; and it became the talk of London. The mid-day performances were invariably well attended, and by the best families in London and its suburbs; but Mr Hengler's expenses were very great, and the receipts, though good, were not commensurate with his outlay and risk. He remained in London until the beginning of May, and then went into the provinces, where he met with his usual success.
In November, 1872, he again opened the Cirque in Argyle Street, to which he brought a very clever company, the principal features being Miss Jenny Louise Hengler, 'Little Sandy,' who made his first appearance in London, and the performing horses. This season, the Prince and Princess of Wales and family honoured the Cirque with a visit, and expressed themselves highly delighted with the entertainment. Mr Joe Bibb, another very clever grotesque and clown, appeared during this season, and soon became popular. Mr H. B. Williams, a lyrical jester, was also a favourite. Mr Charles Fish, an American rider, made his first appearance in England, and created a sensation.
At Christmas', Jack the Giant Killer was produced, with an army of forty juveniles, whose evolutions were highly commended. This season was a very profitable one, although the circus in Holborn and Astley's were open at the same time. Mr Hengler remained until the beginning of March, when he left for Dublin.
After visiting several towns, he returned to London in November, 1873. This was a very successful season - several new engagements having been effected, notably Mr William Bell, one of the best, if not the very best, equestrians in the profession, and Mr Lloyd, another extraordinary rider. Little Sandy now became, if possible, more popular than before; and the portrait of Miss Jenny Louise Hengler was in all the photographers' windows, and in everybody's album.
Mr Felix Rivolti, the genial ring-master who had been with Mr Hengler, with the exception of a few months, about eighteen years, was still in great force. This gentleman had the happy knack of pleasing all audiences, as one half invariably laughed with him, the other half as certainly laughed at him. Very good judges considered him the best ring-master since the celebrated Widdicomb delighted his audiences at Astley's.
Observe with what a self-sufficient smirk Rivolti enters the arena, gracefully handing in the young lady; see how he places her on her horse, and then looks round the house, as much as to say, 'In one minute you will be delighted to see what I can make her do.' He cracks his whip, the horse starts into a canter, the young lady leaps from his back, over garlands, through hoops, etc., etc., when the horse stops, and while the audience are applauding, how happy Rivolti appears! He looks around as much as to say to the audience, 'I told you I could do it. But wait a minute. You see this clown; now I am going to make him do all manner of funny things.' Then 'Little Sandy' performs some of his quaint tricks as only 'Little Sandy' can, and while the audience are laughing and applauding, with what complacency Rivolti looks at them, every feature in his face beaming with gratification. His many admirers will be sorry to hear that he has for the present left the profession, to which, however, he will probably soon return.
Mr John Henry Cooke returned from America this year, and again joined Mr Hengler's Company. Cinderella was reproduced for the Christmas holidays, and with greater splendour than on the previous occasion. Large audiences visited the circus, and the season proved a very profitable one. The Prince and Princess of Wales and family again visited the cirque. From London Mr Hengler and his company went to Dublin, and from thence to Hull and Glasgow, returning to London to open for the fourth season in December 1874. The company was of the usual excellence, including a new importation from America, Mr Wooda Cook, a very clever equestrian; 'Little Sandy,' and Mr Barry, a very pleasing lyrical jester, a great favourite in America, where he has been located several years. The other performers are all excellent. The great feature for the Christmas holidays was a new pantomime, entitled Little Red Riding Hood, performed (with the exception of ‘Little Sandy,' who enacts the Wicked Wolf) entirely by children, original music being composed by Messieurs Riviere and Stanislaus. The idea of this piece is entirely original, nothing of a similar description having been produced in the arena. The cirque is crowded at every representation, and the present promises to be a greater success than either of Mr Hengler's previous seasons in Argyle Street.

Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter XI.
Reminiscences of the Henglers - The Rope-dancing Henglers at Astley's - Circus of Price and Powell - Its Acquisition by the Henglers - Clerical Presentation to Frowde, the Clown - Circus Difficulties at Liverpool - Retirement of Edward Hengler - Rivalry of Howes and Cushing - Discontinuance of the Tenting System - Miss Jenny Louise Hengler - Conversion of the Palais Royal into an Amphitheatre - Felix Rivolti, the Ring-master.
CONSCIOUS as I am of the imperfections of the foregoing record of circus performances in this country, it is a relief to my mind to be enabled to supplement the history with some further particulars concerning the establishments so long, and with such well-deserved success, conducted by the gentlemen who bear the renowned names of Hengler and Sanger. I am indebted for the following memoir of the Henglers to a gentleman well known in the equestrian profession, and who has for many years held the important position of acting-manager in one of the best-appointed and most admirably-conducted circuses in this country.
Mr Charles Hengler, the proprietor of the cirque in Argyle Street, may be said to have been born to the equestrian profession, his father having been a celebrated tight-rope dancer with Ducrow, in whose service he remained for several years; and thus had an opportunity of teaching his sons his own profession.
Edward Henry Hengler, the eldest, became famous in England and on the Continent under the title of Herr Hengler, and was the most celebrated professor of that art in his day. He died a few years since. John Milton Hengler, a younger son, inherited the family talent, and also became famous in America, and on the Continent. He came to England on the retirement of his elder brother, and was considered a worthy successor. A few years ago he retired from active service, and opened a riding school in Liverpool, where he is still residing, highly respected and esteemed by all who know him. Charles Hengler was, fortunately for him, too tall to follow in the footsteps of his brothers, so his father determined to make him the business man of the family, and his present position is ample proof of his father's success in so doing.
After leaving Ducrow, Hengler, with his sons, joined the circus of Price and Powell - Powell having married one of his daughters. Here they remained some time, Charles attending to the business department, and his father and brothers performing in the ring. As the showman's life is, at the best, a very precarious one, Price and Powell got into difficulties while performing at Greenwich, and were consequently obliged to dispose of their concern, which was purchased by Charles and Edward Hengler. Price went abroad, and Powell, who was an excellent equestrian, accepted an engagement with the new proprietors, who carried on the business for several years with varied success, sometimes making money, and as frequently losing what they had worked so hard to obtain. It must be remarked that in those days equestrianism was not so popular as it has since become, and there were two men in the business who carried all before them, namely, Ducrow and Batty; so young and struggling beginners had a hard battle to fight, the best towns in England being in the possession of the former. But, as usual in all such cases, courage and perseverance, combined with honesty of purpose and strict attention to business, ultimately met its reward; for Henglers' circus at last made a name for itself, being the most respectably conducted establishment of that class travelling the provinces.
During the summer months they 'tented,' and in the winter erected temporary wooden buildings in populous towns, in which the second visit was invariably more remunerative than the previous one - a sufficient proof of the high estimation in which the company were held. This is not to be wondered at, when it is stated that several performers, who were then with Mr Hengler, are yet on his establishment; notably, Mr James Franks, one of the best clowns in his line of business of this or any other day. Also Mr Bridges, Mr Powell, and a few others. Of course, with the exception of Mr Powell, they were very young men when they first joined him. There was also another very clever clown on the establishment, of whom I must say a few words. This was James Frowde, a nephew of the proprietors. This gentleman, who several years since retired from the equestrian profession, was an immense favourite with all classes. His appearance in the ring was invariably greeted with acclamations, and in private life his company was sought by many of the most respectable members of the community. To give some idea of the popularity of this gentleman, I may state that while the company were located in Chester in 1856, several clergymen presented him with a very valuable Bible. This was made the subject of an eulogistic paragraph in Punch, in which the recipient and the donors were equally complimented - the one for deserving such a testimonial, the others for their liberal appreciation of his conduct as clown, Christian, and gentleman. It would be well if more of our divines followed so excellent an example; not necessarily by presenting Bibles, for the poor player not only possesses the book, but in most instances acts up to its teachings.
It was while residing in Chester that Mr Hengler obtained the patronage of the Marquis of Westminster; of course on previous occasions he had been patronized by many distinguished personages, and this particular instance is mentioned only because it was the source of Mr Hengler's gaining a footing in Liverpool. I may here be allowed to quote a short paragraph which appeared in the Chester Observer:
'HENGLER'S CIRQUE. - The patronage and presence of the Mayor at this admirably-conducted place of entertainment on Tuesday last filled the building to overflowing. . . Last night the performances were under the patronage of Earl Grosvenor, M. P. In the morning the Marquis of Westminster honoured the establishment with his patronage and presence, the noble lord kindly and duly appreciating the just claim that Mr Hengler has on the public as regards talent, attraction, and propriety, and so, with his usual discretion and sound judgment, took this opportunity to signify to Mr Henry, the manager, his conscientious approval of Mr Hengler's admirably-conducted establishment.' Mr Hengler also received a letter from the Marquis conveying a similar opinion.
For several years it had been the desire of Mr Hengler and other equestrian managers to obtain permission from the authorities of Liverpool to erect a temporary circus in that town. Applications were frequently made, and as frequently refused. The invariable answer was, 'If you wish to perform in this town, you must make an arrangement with Mr Copeland; he has the Amphitheatre, and we cannot allow any one to oppose him.' Now although the Amphitheatre, as its name imports, had been originally built for equestrian performances, they had with one or two exceptions, and these in its earliest days, proved failures. Of course no manager possessing the knowledge of Mr Hengler would risk going there, especially as the best arrangement it was possible to make with the then proprietor was something like 'Heads I win, tails you lose.' I think I am not far wrong in stating that Mr Hengler had made seven or eight applications; and invariably received a similar reply, 'You can't be allowed to build here. The Amphitheatre is open to you; go there, or go away.' Armed with the Marquis of Westminster's letter, and several other valuable testimonials, Mr Hengler determined to make one more trial; with what success I shall presently show.
A piece of ground, the property of the corporation, was vacant in Dale Street, and was a capital site for the erection of a temporary circus.
Mr Hengler, and his architect, Mr O'Hara, went to Liverpool, and obtained an interview with the then Mayor, a celebrated builder and a liberal-minded gentleman.
The testimonials were shown and a promise was made, that, at the next meeting of the Council, Mr Hengler's request should be brought forward, and that the Mayor would assist him by using his influence. With this Mr Hengler was compelled to be satisfied.
From Chester, Mr Hengler went to Bradford, on which occasion the following paragraph appeared in the Leeds Mercury, of January 10, 1857 -
'Mr Hengler's Establishment receives, as it deserves, the patronage of immense audiences. The performances are so unique and varied, that they cannot fail to please; while it is gratifying to perceive the strict care that is taken to prevent anything that could offend the most fastidious. The generality of such entertainments are more or less loose in their morality; but the able and correct manner in which these performances are conducted is testified by the fact, that they have met with the approbation of the local clergy. The Rev. Vicar patronizes the performance on Monday next. And on that occasion Mr Hengler affords free admission to the day-schools connected with the Church of England.' This, of course, was of great value to Mr Hengler; and the authorities at Liverpool were duly apprised of it; and, in a few days, the welcome intelligence was conveyed to Mr Hengler that his request had been complied with, and Mr O'Hara was started off to make arrangements for the erection of the circus. This he soon succeeded in doing, Messrs Holmes and Nicol, the eminent builders, undertaking its erection.
This circus was opened by Mr Hengler on March the 15th, 1857. To give some idea of its style and appointments, I cannot do better than quote the following description from the Liverpool Daily Mail of March 20th, 1857.
‘HENGLER'S CIRQUE VARIETIES. - During the present week Mr Charles Hengler has opened, in Dale Street, a handsome, commodious, and spacious theatre, devoted to equestrian performances, which has been constructed by Messrs Holmes and Nicol of this town, on the model of Franconi's famous Cirque, in the Champs Elysees, Paris. The building, though of a temporary character, is most admirably suited for the purpose for which it is designed; and while accommodating an immense number of spectators, who can all easily witness the performances, the ventilation is perfect, and with an entire absence of draughts. There is nothing to offend the senses of smell or sight. The audience is placed in compartments round the circle; the frequenters of the boxes being seated on cushioned chairs, with a carpeted flooring under their feet. The compartments entitled pit and gallery are also very comfortable, while round the whole building runs a spacious promenade. The ceiling is covered with coloured folds of chintz, which give a brilliant and cleanly appearance; and the pillars supporting the roof are neatly papered, and ornamented with flags and shields. The whole aspect is, in fact, what has long been a desideratum in this country, and we regret it will have to be pulled down again in a few months.
'With respect to the performances, we can only speak most highly; they are decidedly the best we have witnessed here since the appearance of the French Company.
'The horses are beautiful and well trained, the grooms smart and natty, and the dresses of all connected with the establishment new and tasteful. We have not space to mention a tithe of the performances, which present many novelties, and display the varied talent of the company to great advantage; the gentlemen being all daring and skilful, and the ladies, equally clever, yet modest and charming. In fact, we can strongly recommend our readers to pay a visit to Mr Hengler's circus; for, as we were surprised and delighted ourselves, we feel assured that no one can regret patronizing an entertainment so harmless, pleasing, and exciting!’
In one respect, the writer of the above paragraph made a mistake, for, although the circus was originally intended to be a temporary building, the success was so great that it remained standing for five years, Mr Hengler visiting Liverpool for four months each winter. At this time the company comprised William Powell, Anthony and John Bridges, the Brothers Francisco, the clowns Frowde, Hogini, and Bibb, Ferdinand and Eugene, Madame Bridges, Miss Adrian, etc. The performing horses were introduced by Mr Hengler. Previous to Mr Hengler visiting Liverpool, the partnership terminated between him and his brother Edward, the latter having realized sufficient to retire from the profession.
The ground in Dale Street being wanted by the corporation for building purposes, Mr Hengler obtained a site for the erection of a building in Newington, and a lease of the ground for seven years. He here built a very fine and capacious cirque, the builders who erected the one in Dale Street undertaking the contract. It was to be a brick building; and they were under heavy penalties to get it completed by a certain time. Unfortunately for them, they had no sooner commenced, than a strike took place amongst the brick-makers; and the builders had to appeal to Mr Hengler, who allowed them to erect a wooden structure, they agreeing to erect, at the expiration of the strike brick walls around it, which was done.
Here Mr Hengler remained for seven years, the term of his lease. The ground was then required for a new railway, and he had to leave Liverpool, not being able to find a site adapted to his purpose. While Mr Hengler remained here, several other circuses attempted to oppose him, the authorities, who had remained inflexible for so many years, granting indiscriminate permission to whoever applied to them. All of them failed, and soon left the town. A notable example occurred in one especial case.
Howes and Cushing, the American equestrian managers, chartered a vessel, and landed at Liverpool with the largest company and stud that had ever visited these shores. They obtained the best position in Liverpool for the erection of their tent: and this, only after Mr Hengler had been open in Dale Street about one month. They inundated the town with their large pictorial posters, paid fabulous sums for fronts and sides of houses on which to have them affixed. Liverpool really went Howes and Cushing mad. The American colours were flying from every house in which any of the company lodged. Columns of advertisements were in all the Liverpool newspapers; and the day upon which they advertised to parade the town every house in the line of procession was closed. The streets were crowded; all Liverpool seemed to have congregated on the line of route. Special trains came from the surrounding districts.
The procession was certainly a noble one. A huge car, in which the band was seated, was drawn by forty horses, driven in hand. The whole of the company, a very extensive one, was placed in the other cars, which were elaborately carved and gilt. The pageant terminated with a procession of Indians, and a huge musical instrument which was played by steam power. And what was the result? The morning after their first performance the papers were unanimous in saying Mr Hengler's entertainment was far superior. One of them stated that 'the greatest circus in America has met more than its match in Liverpool.' They remained but two weeks; the business falling off very considerably, while Mr Hengler's increased nightly.
After a few very successful seasons in Liverpool Mr Hengler discontinued the tenting business in the summer months, - never to him a very congenial occupation, and erected large buildings in several important towns, notably, Edinburgh, Glasgow, Dublin, and Hull. Those in Glasgow and Hull are still in existence; and, when not occupied by the proprietor, are let for concerts, and entertainments of a similar character.
In 1865 Mr Hengler was offered an engagement at Cremorne Gardens, where there was a very fine building, originally erected for equestrian purposes, but used latterly for exhibiting a Stereorama, which proved a great failure, although the paintings were by those eminent artists, Grieve and Telbin. For several years Mr Hengler had been desirous of performing before a London audience, and thought this a good opportunity of feeling the pulse of the metropolitan public. He therefore came to terms with the then proprietor, Mr E. T. Smith; but, even in those days, Cremorne was in its decadence, and the engagement was neither pleasant to Mr Hengler nor his company. With the exception of one or two miserable attempts, circus performers bade a final adieu to a place which has lately gained such unenviable notoriety. After leaving Cremorne Mr Hengler went to Hull, where he had a most successful season.
It may be a matter of surprise to many people that Mr Hengler never brought any of his family (a very numerous one) up to the equestrian business, with the exception of his daughter, Miss Jenny Louise. He was always desirous that they should receive a good education. Now it would be almost an impossibility to combine the two things, for, at the very time children should be studying their lessons in school, they would be compelled to be practising in the ring, and performing at night, as Infant Prodigies, Lightning Lilliputians, or Bounding Brothers. Then how about Miss Jenny Louise? it may be asked. That young lady did not commence riding before the public until she was eighteen years of age; but she had such an intense desire to become an equestrienne, that she learned, under her father's tuition, more in one year, than many others would have learned in a lifetime. She was naturally graceful, very feminine, and she possessed the necessary nerve and firmness. She was always most deservedly an immense favourite with the public, her skilful horsemanship and charmingly graceful appearance never failing to secure her hosts of admirers of both sexes.
I now come to Mr Hengler's second appearance in London, which had such a different result to the previous one, as will be shown in the sequel. In 1871, a gutta percha merchant, who had made several ventures in the equestrian business, obtained possession of the Palais Royal in Argyle Street, the site of the present cirque, and wished Mr Hengler to join him. Mr Hengler took time to consider the proposal, which after due consideration he declined, the previous experiments of the gutta percha merchant in the equestrian business having invariably proved so unsuccessful that his shows became known amongst equestrians as the Gutta Percha Circus, an appropriate title, they having in most instances so suddenly collapsed.
After some difficulty, Mr Hengler succeeded in obtaining possession of the Palais Royal, as it was then called, and speedily converted it into the elegant theatre, so admirably adapted for its present purposes, which was opened in the autumn of 1871. His first season was not a profitable one, in a pecuniary sense; and this, in a great measure, is to be accounted for by the fact, that circus entertainments in London had become very unpopular. In the first place, the circus in Holborn had been badly managed, the proprietors not understanding the business. In this year it was again opened by one of the former proprietors, and the season not having proved profitable, the place was soon closed.
In 1872 it was opened under the auspices of the gutta percha merchant, though his name did not appear publicly in the matter. Astley's also opened under the management of the Brothers Sanger, gentlemen of great experience in the profession, and who, as a matter of course, were formidable rivals. There were now 'three Richmonds in the field,' and, as Mr Hengler, although popular in the provinces, was not known to any great extent in London, he had to bide his time, until the superiority of his entertainments became known and appreciated. At any rate he had sown the seed; the harvest was to be gathered hereafter. All who visited the place were delighted with the high character of the entertainments. Everything was neat and elegant; the horses were considered, by good judges, to be far superior to those usually exhibited in places of this description. Miss Jenny Louise Hengler had already become a great favourite with lovers of high-class riding.
At Christmas, Cinderella, with a host of juveniles, was for the first time produced in a London Cirque. Everybody who witnessed it left the place delighted; and it became the talk of London. The mid-day performances were invariably well attended, and by the best families in London and its suburbs; but Mr Hengler's expenses were very great, and the receipts, though good, were not commensurate with his outlay and risk. He remained in London until the beginning of May, and then went into the provinces, where he met with his usual success.
In November, 1872, he again opened the Cirque in Argyle Street, to which he brought a very clever company, the principal features being Miss Jenny Louise Hengler, 'Little Sandy,' who made his first appearance in London, and the performing horses. This season, the Prince and Princess of Wales and family honoured the Cirque with a visit, and expressed themselves highly delighted with the entertainment. Mr Joe Bibb, another very clever grotesque and clown, appeared during this season, and soon became popular. Mr H. B. Williams, a lyrical jester, was also a favourite. Mr Charles Fish, an American rider, made his first appearance in England, and created a sensation.
At Christmas', Jack the Giant Killer was produced, with an army of forty juveniles, whose evolutions were highly commended. This season was a very profitable one, although the circus in Holborn and Astley's were open at the same time. Mr Hengler remained until the beginning of March, when he left for Dublin.
After visiting several towns, he returned to London in November, 1873. This was a very successful season - several new engagements having been effected, notably Mr William Bell, one of the best, if not the very best, equestrians in the profession, and Mr Lloyd, another extraordinary rider. Little Sandy now became, if possible, more popular than before; and the portrait of Miss Jenny Louise Hengler was in all the photographers' windows, and in everybody's album.
Mr Felix Rivolti, the genial ring-master who had been with Mr Hengler, with the exception of a few months, about eighteen years, was still in great force. This gentleman had the happy knack of pleasing all audiences, as one half invariably laughed with him, the other half as certainly laughed at him. Very good judges considered him the best ring-master since the celebrated Widdicomb delighted his audiences at Astley's.
Observe with what a self-sufficient smirk Rivolti enters the arena, gracefully handing in the young lady; see how he places her on her horse, and then looks round the house, as much as to say, 'In one minute you will be delighted to see what I can make her do.' He cracks his whip, the horse starts into a canter, the young lady leaps from his back, over garlands, through hoops, etc., etc., when the horse stops, and while the audience are applauding, how happy Rivolti appears! He looks around as much as to say to the audience, 'I told you I could do it. But wait a minute. You see this clown; now I am going to make him do all manner of funny things.' Then 'Little Sandy' performs some of his quaint tricks as only 'Little Sandy' can, and while the audience are laughing and applauding, with what complacency Rivolti looks at them, every feature in his face beaming with gratification. His many admirers will be sorry to hear that he has for the present left the profession, to which, however, he will probably soon return.
Mr John Henry Cooke returned from America this year, and again joined Mr Hengler's Company. Cinderella was reproduced for the Christmas holidays, and with greater splendour than on the previous occasion. Large audiences visited the circus, and the season proved a very profitable one. The Prince and Princess of Wales and family again visited the cirque. From London Mr Hengler and his company went to Dublin, and from thence to Hull and Glasgow, returning to London to open for the fourth season in December 1874. The company was of the usual excellence, including a new importation from America, Mr Wooda Cook, a very clever equestrian; 'Little Sandy,' and Mr Barry, a very pleasing lyrical jester, a great favourite in America, where he has been located several years. The other performers are all excellent. The great feature for the Christmas holidays was a new pantomime, entitled Little Red Riding Hood, performed (with the exception of ‘Little Sandy,' who enacts the Wicked Wolf) entirely by children, original music being composed by Messieurs Riviere and Stanislaus. The idea of this piece is entirely original, nothing of a similar description having been produced in the arena. The cirque is crowded at every representation, and the present promises to be a greater success than either of Mr Hengler's previous seasons in Argyle Street.

http://www.circushistory.org/Frost/Frost11.htm

 

Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter XII.
The Brothers Sanger - First Appearance in London - Vicissitudes of Astley’s - Batty and Cooke - Purchase of the Theatre by the Brothers Sanger - Their Travelling Circus - The Tenting System - Barnum and the Sangers.
AN impenetrable mist hangs over the early history of the industrious and enterprising gentlemen who now own the 'home of the equestrian drama' in the Westminster Road. The names of Hengler, and Cooke, and Adams have been, to our fathers and grandfathers, as well as to the present generation, 'familiar in their mouths as household words;' but circus records, and even circus traditions, are silent concerning the progenitors of John and George Sanger. There is a whisper floating about circus dressing-rooms that the latter gentleman might have been seen, many years ago, doing a conjuring trick on the narrow 'parade' of a little show at fairs; but the Brothers Sanger are most reticent concerning their antecedents, and all that can be said of them with certainty is that they were travelling with a well-appointed circus, and a numerous company and stud, many years before they became known as public entertainers in the metropolis.
They first became known to a London audience by their successful series of performances at the Agricultural Hall, which place of amusement they occupied for several seasons.
During their tenancy they produced several equestrian spectacles, all mounted in a costly and elaborate manner. The first was entitled 'The Congress of Monarchs,' and, nothing of a similar character having been previously produced in London, it attracted an immense concourse of persons to the Hall. To give some idea of the vast number who attended, I am enabled to state, on authority, that on several occasions upwards of 37,000 persons witnessed the performances in one day.
Their last season in this place was in 1872, in which year they also acquired possession of Astley's, which had, since the earlier days of Batty, gradually sunk to the lowest grade in the estimation of the pleasure-seeking portion of the public, all Batty's successors, with the exception of William Cooke, having signally failed. Upon the termination of Cooke's lease, Batty wished to raise the rental, or sell the property, and as Cooke declined paying more than he had hitherto done, he retired from Astley's and the profession, and Batty, not finding a purchaser or a suitable tenant, after keeping the place closed for some time, opened it himself, having Hughes, a once celebrated equestrian proprietor, as acting manager, and William West as stage director. The military spectacle with which the theatre was re-opened, entitled The Story of a Flag, was a failure; and after lingering for a few months the theatre was closed.
Mr E. T. Smith then obtained possession on very advantageous terms, and in a short time was fortunate enough to find a tenant in Mr Nation, who paid L5000 for the unexpired term of the lease. This not proving a profitable investment, the theatre was again in the market, when Mr Boucicault, with the same view of 'regenerating the National Drama.' which he subsequently essayed at Covent Garden with Babil and Bijou, obtained a lease, made great alterations, and renamed the building the Royal Westminster Theatre, advertising it as 'the nearest theatre to the West End, through the parks, which extend to the foot of Westminster Bridge, close to which the theatre is situate.' The inhabitants of Lambeth laughed, and the dwellers in Belgravia wondered; but the Royal Westminster was not frequented by the play-goers of either quarter, and after an unsuccessful season the theatre was again closed.
Mr Batty again trying to dispose of the property, but without effect, it remained closed for a considerable period, until the present proprietors obtained possession of it, and opened it for the Christmas holidays. The experiment of keeping both Astley's and the Agricultural Hall open at the same time did not, however, answer their expectations, and they ultimately concentrated their forces at Astley's, having purchased the property upon extremely advantageous terms.
They expended a large sum of money in having the interior almost entirely remodelled, the well-known theatrical architect, Mr Robinson, being employed for the purpose. Under the present arrangement the building is adapted for the accommodation of nearly 4000 persons. During the winter season the Brothers Sanger remain in London; the other portion of the year is passed in visiting the principal provincial towns, where the extent and splendour of their parade invariably attracts large audiences. The performances are given, sometimes in a huge tent, and sometimes in the open air, in a large field near the town. Their stay in one place is usually from one to four days, according to the population. Their expenses are necessarily very heavy, and their takings, as a rule, enormous.
It may be interesting to some persons to know how an affair of this description is managed. The proprietors themselves are most industrious and indefatigable, and they have in their service, as acting manager, a very clever and experienced gentleman named Twigg, late lieutenant in one of Her Majesty's regiments. Mr Twigg engages several persons, whose duty it is to make arrangements in advance for the numerous company and stud. They hire ground suitable for the purpose, and engage bill-posters, who placard the town with large and brilliantly-coloured pictorial representations of the performances, and distribute printed bills, containing the names of the performers, also giving a description of the procession, and the route it will take in parading the town. These are distributed in all the villages within a radius of fifteen miles. Lengthened advertisements are also inserted in all the local newspapers, and thus the public curiosity is excited, and it is no uncommon thing for a general holiday to be held upon the day of their grand procession through the town.
Previous to the company arriving, the tent-men, with the baggage-waggons, proceed to the field, erect the tent, make the ring, and prepare for the various performances, - fixing the hurdles, gates, etc. When the company arrives everything is prepared. The horses are stabled, groomed, and fed; the 'Tableaux Carriages' (as they are termed) are washed, and everything made ready for the grand parade, which usually starts from the tent about an hour and a half previous to the first performance. After the parade the show commences - the first one occupying about two hours. After this is over the performers dine and rest until the evening - the second performance commencing about seven, and terminating about ten o'clock.
Immediately after the last act, the whole of the company are advised at what hour they will be required to start in the morning for the next place; this, of course, depends in a great measure upon the length of the journey and the state of the roads; the usual time for starting is about five o'clock, and they travel at the rate of five or six miles an hour. The tent and baggage men leave earlier. Many of the principal members of the company have their own 'living carriages,' which are fitted up with every convenience, and a very jolly and healthy life the occupants lead. Two performances are invariably given each day, consisting of the usual equestrian and gymnastic feats, horse and pony racing, hurdle-leaping, and Roman chariot races.
The stud of the Brothers Sanger comprises upwards of 200 horses, the greater number of which are used for drawing their show-cars, conveying the performers and paraphernalia, etc. The trained animals used in their entertainments are very numerous, however, and they have also no fewer than 11 elephants. The company is, necessarily, a very numerous one, consisting of male and female performers, band, grooms, stable-helpers, tent-men, etc.; seldom less than 200 persons altogether. It would surprise most people to see how easily all the arrangements are carried out; when once started on its tour the whole affair moves on like clock-work. The advent of the circus in each town at the time announced may be regarded as an absolute certainty, so complete is the organization in every respect.
This immense establishment has grown to its present gigantic dimensions from very small beginnings, the Brothers Sanger being proud to acknowledge that they commenced their career at the lowest rung of the ladder.
In addition to his share in Astley's Amphitheatre, Mr John Sanger is also proprietor of the 'Hall by the Sea' at Margate, which is managed by his son-in-law, Mr Reeves, and is highly popular as a place of recreation with the thousands of persons, who visit that salubrious watering-place during the summer.
The fame of the Brothers Sanger having reached the United States, Mr P. T. Barnum, the world-renowned American showman, came to England in 1873 expressly to purchase from them the whole of the dresses and material used in the grand spectacle of 'The Congress of Monarchs' (produced by them, as before stated, at the Agricultural Hall), at a cost (as advertised) of L30,000. This has been an immense attraction in New York, and has added considerably to the fortunes of the 'prince of showmen,' as Barnum calls himself.
The Christmas entertainment of the present season has been, as everybody knows, a pantomime entitled - Aladdin and the Wonderful Lamp, and the Forty Thieves, and the Flying Horses of Lambeth - a strange and rather peculiar conglomeration of titles. It has been produced and placed on the stage regardless of cost, the scenic effects being very beautiful, the costumes magnificent and elaborate, and one scene, in which all the company appear, forming a brilliant combination of colour, certainly deserving of the highest praise, and reflecting the greatest credit upon all concerned.
The eleven elephants are here introduced, the 'white' one especially attracting much attention, and Mr George Sanger's address previous to its introduction being not the least amusing part of the performance. These elephants play a very conspicuous part in the tableaux, and the general effect far surpasses anything of a similar description ever produced by the Brothers Sanger, who certainly deserve the fame and fortune which their industry and enterprise have acquired for them.
Until within the last few years it was supposed that the circus-loving portion of the metropolitan population was not numerous enough to support more than one equestrian establishment; but the contrary may now be regarded as proven, and, though it may still be doubted whether London would support as many circuses as the much less populous city of Paris, we trust to see the company and stud of Mr Hengler at his most comfortable cirque in Argyle Street, and those of the Brothers Sanger at Astley's, for many years to come, and to be assured that with each recurring season the proprietors of both establishments are augmenting the fame and fortune which they have so deservedly won.
http://www.circushistory.org/Frost/Frost12.htm

 

Thomas Frost, Circus Life and Circus Celebrities, London: Chatto and Windus, 1881.

Chapter XIII.
American Circuses - American Performers in England, and English Performers in the United States - The Cookes in America - Barnum's great Show - Yankee Parades- Van Amburgh's Circus and Menagerie - Robinson's combined Shows - Stone and Murray's Circus - The Forepaughs - Joel Warner - Side Shows - Amphitheatres of New York and New Orleans.
THE, circus in America is a highly popular entertainment, and is organized upon a very extensive scale, as everything is there, like the country itself, with its illimitable prairies, rivers thousands of miles long, and lakes like inland seas. Americans have a boundless admiration of everything big; they seem to revel even in 'big' bankruptcies and 'big' fires, such as that which desolated Chicago a few years ago. Circus proprietors bring their establishments before the public, not by vaunting the talent of the company, or the beauty and sagacity of the horses, but by announcing the thousands of square feet which the circus covers, the thousands of dollars to which their daily or weekly expenses amount, and the number of miles to which their parades extend. 'This is a big concern,' say those who read the announcement, and their patronage is proportionate to its extent and cost.
The American circuses are all conducted on the tenting system, and, as there are few towns in the Union which could support one only of the many colossal establishments which travel during the summer, most of them are idle during the winter; many of them are combined with a menagerie, in which cases one charge admits to both. Except in the matter of size, they do not differ materially from tenting circuses in this country; but the tents are larger, the parades longer, and the rifle-targets, the Aunt Sallies, and the acrobats in dirty tights who follow Sanger, and the Ginnetts, and Quaglieni, and other tenting circuses in England, are replaced by small shows, such as attend fairs in this country, and in which giants, dwarfs, albinoes, and monstrosities of various kinds are exhibited.
The interchange of circus performers between England and the United States, which has existed almost as long as circuses, has made us better acquainted in this country with the kind and quality of the performances to be witnessed in American circuses than with the manner in which they are conducted. Stickney and North were known and appreciated at Astley's by the last generation, and the present has seen and admired, at the Holborn Amphitheatre, those inimitable gymnasts, the Brothers Hanlon, the incomparable vaulter, Kelly, and some others. Wallett, the Cookes, and many others, besides French, German, and Italian performers who have appeared in English circuses and music-halls, have found their way to America, and proved as attractive there as here. Four years ago, the Cooke family was represented in the United States by Emily Henrietta Cooke, John Henry Cooke, and George Cooke, prominent members of Stone and Murray's company, and James E. Cooke with French's circus.
The largest circus now travelling is Barnum's, forming a portion of the great combination advertised as the 'Great Travelling World's Fair.' Barnum has long been famous in both hemispheres as the greatest showman in the world. He is certainly a man of remarkable enterprise and energy. He is quick in arriving at conclusions, and when he has resolved upon any undertaking, he exercises all his energy, and brings into force all the results of his long and varied experience, in carrying it into execution.
Coup, a gentleman well known among public entertainers across the Atlantic, said to Barnum one day, 'What do you say to putting a big show on the road?'
'How much will it cost?' inquired Barnum, after a moment's reflection.
‘Two hundred thousand dollars,’ was the reply.
'I'll let you know to-morrow,' said Barnum.
On the following day, he told Coup that 'Barnum's great show' was a fact, and that he (Coup) was to be its manager, as he is to this day. The establishment then formed was, however, far from being the mammoth concern with which the great showman took the field in 1873. Notwithstanding the great loss which he sustained by the burning of the museum which so long attracted attention in the Broadway, New York, at the close of the preceding year, he came before the public a few months afterwards with a circus, a menagerie, a museum, a gallery of pictures and statuary, and a show of mechanical wonders and curiosities, all combined in one, and to which the public were admitted for a single payment of half-a-dollar.
The address to the public with which this colossal combination of entertainments was inaugurated is so unique and characteristic that I need make no apology for inserting it entire.
‘LADIES, GENTLEMEN, FAMILIES, CHILDREN, FRIENDS:
'My career for forty years as a public Manager of amusements, blended with instruction, is well known. You have all heard of my three New York Museums; my great triumphal tour with Jenny Lind, the Swedish Nightingale, and my immense travelling exhibitions. Everybody concedes that I give ten times the money's worth, and always delight my patrons. I now come before you with the LAST GRAND CROWNING TRIUMPH OF MY MANAGERIAL LIFE.
‘Notwithstanding the burning of my last Museum, in December (which, however, did not destroy any of my great travelling chariots, vans, cages, or horses, nor duplicates of most of my living wild animals, which were then on exhibition in New Orleans), I have been enabled, through the aid of cable dispatches, electricity and steam, and the expenditure of nearly a million of dollars, to place upon the road by far the largest and most interesting combination of MUSEUM, MENAGERIE, and HIPPODROME ever known before - a veritable WORLD'S FAIR.
'No description will convey an adequate idea of its vastness, its beauty, and its marvellous collection of wonders. It travels by rail, and requires more than one hundred cars, besides FIFTY OF MY OWN, made expressly for this purpose, and five or six locomotives to transport it. My daily expenses exceed $5,000. We can only stop in large towns, and leave it to those residing elsewhere to reach us by cheap excursion trains, which they can easily get UP.
'Among some of my novelties is a FREE FULL MENAGERIE OF WILD ANIMALS, including all, and more than are usually seen in a travelling menagerie, which I now open to be seen by everybody, WITHOUT ANY CHARGE WHATEVER. Although I have consolidated more than twenty shows in one, containing nearly one hundred gorgeously magnificent gold and enamelled cages, dens and vans, requiring the services of nearly 1,000 men and over 500 horses, the price of admission to the entire combination of exhibition is only the same as is charged to a common show, viz. 50 cents; children half price. My great Hippodrome Tent comfortably seats 14,000 persons at one time, while my numerous other tents cover several acres of ground.
‘The Museum Department contains 100,000 curiosities, including Professor Faber's wonderful TALKING MACHINE, costing me $20,000 for its use six months. Also, a National Portrait Gallery of 100 life-size Oil Paintings, including all the Presidents of the United States, our Statesmen and Military Heroes, as well as foreign Potentates and Celebrities, and the entire Collection of the celebrated John Rogers' groups of Historical and Classic Statuary. Also, an almost endless variety of Curiosities, including numberless Automaton Musicians and Mechanicians, and Moving Scenes, Transformation Landscapes, Sailing Ships, Running Water-mills, Railroad Trains, etc., made in Paris and Geneva, more beautiful and marvellous than can be imagined, and all kept in motion by a Steam Engine. Here, also, are Giants, Dwarfs, Fiji Cannibals, Modoc and Digger Indians, Circassian Girls, the No-armed Boy, etc.
'Among the rare wild animals are MONSTER SEA LIONS, transported in great water-tanks; the largest RHINOCEROS ever captured alive, and 1,500 Wild Beasts and Rare Birds, Lions, Elephants, Elands, Gnus, Tigers, Polar Bears, Ostriches, and every description of wild animal hitherto exhibited, besides many never before seen on this Continent.
'In the Hippodrome Department are THREE DISTINCT RINGS, wherein three sets of rival performances are taking place at the same time, in full view of all the audience. Here will be seen Performing Elephants, Horse-riding Goats, Educated Horses, Elk and Deer in Harness, Ponies, Trick Mules, and Bears, and three distinct Equestrian Companies (with six clowns), including by far the best Male and Female Bare-back Riders in the World, with numerous Athletes and Gymnasts who have no equal. Everything is perfectly chaste and unobjectionable. Its like will never be known.
‘THE GREAT STREET-PROCESSION, three miles long, takes place every morning at half-past eight o'clock. It is worth going 100 miles to see. It consists of trains of Elephants, Camels, Dromedaries, Zebras, and Elks in harness; nearly 100 Gold Enamelled and Cerulean Chariots, Vans, Dens, and Cages; Arabian Horses, Trick Ponies, three Bands of Music, and a most marvellous display of Gymnastic, Automatic, and Musical performances in the public streets.
I THREE FULL EXHIBITIONS will be given each day at ten, one, and seven o'clock. No one should miss the early Procession.
The Public's Obedient Servant,
‘P. T. BARNUM.'
The circus department of this unrivalled combination show is managed by Dan Castello, who is described in the bills as 'a gentleman of rare accomplishments as a jester and conversationalist, whose varied and ripe experience in Continental Europe, and North and South America, render his services of great value.' The company comprised Celeste Pauliere, the dashing bare-back rider of the Cirque Francais; D'Atalie, 'the man with the iron jaw,' who appeared a year or two ago at some of the London music-halls; the Sisters Marion, who then appeared in America for the first time; Frank Barry, Vinnie Cook, Montenard and Aymar, Madame Aymar, Marie Girardeau, and Carlotta Davioli: and among performers less known on this side of the Atlantic, Lucille Watson, Angela (‘the female Samson'), Sebastian and Romeo, the Mathews family, Lazelle and Millison, the Bliss family, Bushnell, Nathan, Nichols, Lee, and Hopper.
The grand parade is a thing to be seen once in a life, and talked of ever afterwards. Here I must let the Prince of Showmen, as Barnum has been called, speak for himself; no other's pen could do justice to the theme. ‘The grand street pageant,' says one of his bills, 'which heralds the advent into each town of the longest and grandest spectacular demonstration ever witnessed, is nearly three miles in length. Prominent among the grand and attractive features of the innumerable caravan, are the twelve golden chariots, eight statuary and four tableau, including the gorgeous moving Temple of Juno, 30 feet high, built in London at a cost of $20,000, the musical Chariot of Mnemosyne, the revolving Temple of the Muses, the great steam Calliope, three bands of music, and one hundred resplendent cages and vans.
'These magnificently gilded Palaces and Dens, plated and elaborated by the most cunning artisans, after vivid designs and gorgeous impersonations from the Dreams of Hesiod, are drawn in the Great Procession by trained Elephants, Camels, Dromedaries, Arabian Thoroughbreds, Liliputian Ponies, herds of Elk and Reindeer in harness, and a gorgeously caparisoned retinue of dapple Steeds and Shetland Palfreys. They are of such rich and varied attractions as to excite the envy of a CROESUS or BELLEROPHONTES.
'The Great Procession will be interspersed with grotesque figures, such as automaton gymnasts, mechanical trapezists, globe and ball jugglers, comic clowns, and athletic sports, performing on the tops of the cages and chariots, in open streets, all the difficult feats of the celebrated living gymnasts. The different brass bands, musical chariots, Polyhymnian organs, steam pianos, and Calliopes, &c., are equivalent to one hundred skilful musicians. Persons anxious to see the procession should come early, as three performances a day are given to accommodate the multitudes, viz., at 10 a.m., also at one and seven o'clock in the afternoon and evening. Prof. Fritz Hartman's silver cornet band, Herr Hessler's celebrated brass and string bands, Mons. Joseph Mesmer's French cornet band, and the great orchestra Polyhymnia, will enliven the community with their choicest rhapsodies, in alternate succession, while passing through the streets.'
The bill concludes with the following announcement, eminently characteristic of the people, and of Barnum in particular: - 'Tickets will be carefully but rapidly dispensed, not only by BEN LUSBIE, Esq., the "Lightning Ticket Seller," whose achievement of disposing of tickets at the rate of 6,000 per hour is one of the sensational features of the great free show, but from several ticket waggons, and also from the elegant carriage of Mr Barnum's Book Agent, who furnishes Tickets FREE to all buyers of the Life of P. T. Barnum, written by himself, reduced from $3.50 to $1.50.’
Circuses on such a scale as this, and many similar concerns now travelling in the United States, can only be conducted successfully by those who combine a large amount of reserve capital with the requisite judgment, experience, and energy for undertakings so great and onerous. There are in that country, though its population is much less and scattered over an area far more extensive than that of Great Britain, many more circuses than exist in this country, and most of them organized on a scale which can be matched in England only by Sanger's. Conducted as such enterprises are in America, under conditions unknown in this country, a bad season is ruin to circus proprietors whose reserve capital is insufficient to enable them to hold their own against a year's losses, maintain their stud during the winter in idleness, and take the field with undiminished strength and untarnished splendour in the following spring.
American circus proprietors, managers, performers, and all connected with them, will not soon forget the season of 1869, which ruined several concerns, sapped the strength of more, and disappointed all. 'During the winter of 1868-9,' writes an American gentleman, fully acquainted with the subject, 'the most extensive preparations were made by them. New canvases were bought, new wagons built, the entire paraphernalia refitted, and considerable expense gone to for what they all anticipated would be a prosperous season. The rainy term struck a good many of the shows in the western country as soon as they got fairly on the road, and some of them did not see the sun any day for three weeks. This proved disastrous, as it put them back several weeks. The rainy weather made the roads in a horrible condition and almost impassable, while in some parts of the far west one concern came to a dead stand for a week, not being able to get along with the heavy wagons through a country that had to be forded. In this manner several concerns lost many of their stands. Then, when they did strike a clear country, business did not come up to expectations. It is very doubtful if, out of the twenty-eight circuses and menageries that started out in April and May, more than six concerns came home with the right side of a balance-sheet. Of this number were the European, Bailey's, Stone and Murray's, and two or three of the menageries. Some of the other shows managed by close figuring to worry through the season and come home with their horses pretty well jaded out, their wagons worn, and their canvas in a dilapidated condition. There were other shows that collapsed before the season was half over.
'Profiting by experience, and having not much better hopes for next season, scarcely a manager went heavily into preparations during the winter for the summer's campaign. The general impression with all the old and experienced managers was that it was going to be another hard one for them to pull through, and could they have made any satisfactory disposal of their live stock, they would willingly have done so sooner than go through such another summer as the last one. Some of the old managers believe in "Never say die," and launched out a little more boldly than the rest, believing that "Nothing venture, nothing win." The big concerns that have wealthy managers, who can stand a few weeks of bad luck, hold out; but there are several new managers getting into the business - as well as several old ones - who have just money enough to get their shows on the road. These are the concerns that go by the board first, should times be bad, for, having no money to fall back on, the "jig's up." There are many shows that go on the road without a dollar in the treasury, comparatively speaking. They manage to crawl along by paying no salaries, their daily receipts just about meeting their hotel bill for keep of men and horses. Finally, they reach a town, the weather is very stormy, and the receipts do not come up to the daily expense. The consequence is the landlord of the hotel has to accompany the show to the next stand to get his money, and in some instances keep along for two or three days.
'I know of a circus that once travelled through Vermont and did a good business, but on their return home through New York State met with five weeks of horrible business, the weather being rainy nearly every day. There were from two to three landlords accompanying the show all the time to collect back bills, and as fast as one was dropped another would be taken on. In one town one landlord, who had been along for nearly a week, grew out of patience, and, becoming desperate, had the canvas attached, and as soon as the company got ready to start for the next town it was hauled down to a stable under charge of the sheriff. Of course there was no use of the show going to the next town without a canvas, so at last the sheriff kindly consented to take two of the baggage horses for the debt, and they were left behind. This caused a delay, and the canvas did not arrive in the next town until it was too late to give the afternoon show. This is only one of the hundreds of little events that transpire during the tenting season.
'But the greatest trouble experienced by circus managers is the attempt on the part of crowds of roughs to gain free admittance to the circus. In a body they go to the door and attempt to pass; upon being stopped, they show fight. If they are worsted, they soon re-appear on the scene, considerably strengthened in numbers, and they either cut the guy ropes and let down the canvas, or they get into a fight with the circus boys. Generally speaking, serious results follow, and if one of the citizens of the town is hurt the concern is followed to the next town and hunted like dogs, and probably the same scenes occur there. There are several towns where trouble is generally looked for. West Troy, N. Y., is one of these, and we could mention half a dozen others. In scarcely one of these towns are the police strong enough to break up these regular circus riots. A circus manager is compelled to pay to the corporation a heavy license fee for the privilege of showing in the town, a goodly tax for ground rent for pitching his canvas, he is charged exorbitantly for everything he wants during his stay there, and he has a United States licence also to pay, and it is but justice that the corporation should be prepared beforehand, and see that said manager's property is protected.'
Next to Barnum's, the best organized and appointed circuses now travelling are Van Amburgh's, Robinson's, and Stone and Murray's. Van Amburgh and Co. own two menageries, one of which accompanies the circus. It will surprise persons acquainted only with English circuses to learn that the staff of the combined shows comprises a manager and an assistant manager, advertiser, treasurer, equestrian director, riding-master, band leader, lion performer, elephant man, doorkeeper, and head ostler, besides grooms, tent-men, &c., to the number, all told, of nearly a hundred. The number of horses, including those used for draught, is about a hundred and forty.
In 1870, the management adopted the plan of camping the horses and providing lodgings and board for the entire company, so as to be independent of hotel and stable keepers, whose demands upon circus companies are said to have often been extortionate. To this end, they had constructed a canvas stable, and two large carriages, eighteen feet long, to be set eighteen feet apart, with swinging sides, was to form a house eighteen feet by thirty. This is their hotel, and the cooking is done in a portable kitchen, drawn by four horses. Fifty men are lodged and boarded in this construction, which is called, after the manager, Hyatt Frost, the Hotel Frost. Among the cooking utensils provided for the travelling kitchen is a frying-pan thirty inches in diameter, which will cook a gross of eggs at once.
Robinson, the manager of the concern known as the Yankee Robinson Consolidated Shows, combines a menagerie and a ballet troupe with a circus, the former containing a group of performing bears. The parades of this circus are organized on a great scale, and usually present some feature of novelty, or more than ordinary splendour. A new Polyhymnia, used as an advertising car, and which produces a volume of sound equal to that of a brass band, was added to its attractions in 1870. The Hayneses or Senyahs, who performed at several of the London music-halls a few years ago, and whose performance has been described in a previous chapter, were at that time in the company, and had been during the previous winter at the Olympic Theatre, Brooklyn. There also another female gymnast known to the frequenters of metropolitan music-halls, namely, Madlle Geraldine, appeared that season. Robinson is said to be the only man that so far has been successful as a circus manager, performer, and Yankee comedian, having appeared with considerable success as a representative of Yankee characters at Wood's Museum and the Olympic Theatre, New York, as well as in other cities.
Stone and Murray's circus enjoyed, until Barnum took the field, a reputation second to none in the Union. 'Wherever they have been,' says the writer already quoted, 'they have left a good name behind them, and they give a really good circus entertainment, Everything about the show presents a neat appearance, and the company are noted for behaving themselves wherever they appear.' This is the circus in which two or three of the numerous and talented Cooke family performed during the season of 1870, together with Jeannette Elsler, who in 1852 performed at Batty's Hippodrome, being then a member of Franconi's company. Charles Bliss, now in Barnum's company, and William Ducrow, were also members of Stone and Murray's company four years ago. For the parade, this circus has a band chariot, drawn by forty horses; and in 1870, as an additional outside attraction, Madlle Elsler made an ascent on a wire from the ground to the top of the pavilion, a feat which she had performed eighteen years previously at Batty's Hippodrome.
Forepaugh's 'zoological and equestrian aggregation,' as the show is called, combines a circus with a menagerie, and possesses no fewer than three elephants and as many camels. Adam Forepaugh is the proprietor of this show, which must not be confounded with Gardner and Forepaugh's circus and menagerie, which was organized in 1870 by the amalgamation of Gardner and Kenyon's menagerie with James Robinson's circus. Kenyon retired from the former in 1869, and John Forepaugh, brother of Adam, took his place. The two elephants and other animals forming the zoological collection belong, however, to Adam Forepaugh, from whom they are hired on a per centage arrangement. Madlle Virginie, who appeared at the Holborn Amphitheatre a few years ago, has since been travelling with Adam Forepaugh; while Gardner and Forepaugh's circus has included in its company J. M. Kelly, brother of George Kelly, the champion vaulter, whose double somersaults over a dozen horses will long linger in the memory of those who witnessed the feat in the same arena.
Joel Warner, who was formerly Adam Forepaugh's advertiser, started a circus and menagerie on his own account in 1871. 'He said,' writes the gentleman who relates the story of the origin of Barnum's show, 'that he was "bound to have some money, or die;" and he added that he would "fifty per cent. rather have the money than die." Well, he started out, and met with but poor encouragement; still his indomitable energy kept him above-water until he got into Indiana, when he found, to his utter consternation, that he was to meet with strong opposition. "Well," he said, "there's just one way to get out of this," and Warner quietly disappeared. Two or three days after a travel-worn stranger stepped into the counting-room of Russell, Morgan, & Co.'s great printing house, in Cincinnati, and, sitting himself down in a chair, exclaimed: - "Well, here I am, and here I'll stay." It was Warner, and the way that man disturbed the placid bosom of quart-bottles of ink was a warning to writists. For two weeks he sat at a desk running off "proof" from his pen, while the printers ran it off from the press, and when he got through, J. E. Warner & Co.'s Menagerie and Circus was among the best advertised shows in America. He courted the muses too, and fair poetry shed her light upon Warner's wearied brain, while she tipped his fingers with:
One summer's eve, amid the bowers
Of Grand river's peaceful stream,
Sleeping 'mong the breathing flowers,
Joel Warner had a dream:
Argosies came richly freighted,
Birds and beasts, from every land,
At his calling came and waited,
Till he raised his magic hand."
The magic hand," was raised, and Hoosiers and Michiganders filled it with "rocks." I met him in the summer at Fort Wayne. "Well, Warner, what success?" I asked. "Red hot!" was the answer, and off he started to hire every bill-board and billposter and newspaper in the town. As an advertiser he stands "ever so high," and as a gentleman he is, as Captain Cattle remarked of his watch, equalled by few and excelled by none."
'One day Charley Castle - of course, everybody knows Charley Castle, and has heard him mention Syracuse - one day Charley Castle lost a beautiful topaz from a ring, and after a thorough search he gave it up as gone; “still," said he, "I'll give two dollars to the finder if he returns it." Warner quietly walked across the street to the dollar-store and bought a glass stone which bore a remarkable resemblance to the one lost. Laying it in a corner; he sat down, and in a few moments delighted Castle by pointing out his lost gem. It fitted the setting exactly, and Charley was happy. Well," said Warner, "I won't ask you for the two dollars, Charley, but you must set 'em. up." "All right." They were set up accordingly, and it cost three dollars exactly. A short time after, Castle made a startling discovery - his beautiful topaz was beautiful glass. There was war in that camp, and in order to move Charley Castle it is only necessary to go and whisper "topaz" in his ear.
'But Castle is full of tricks too. Out in Ohio, when he was agent of O'Brien's big show - " Great Monster Menagerie, National Natural Kingdom and Aviary of Exotic Birds" - that's what he calls it - a landlord gave him a cross word. "Hitch up them horses," he shouted to his groom, and leaving the landlord a left-handed blessing, he drove three miles away, and showed in an open farm, to a crowded house. Landlords and showmen often have little passages, and generally the showmen come out winners. I remember a landlord in a southern town, who once contracted to keep fifty men, and when the show arrived he had just ten beds in the house. This was rough on the showmen, but the way the landlord suffered was enough to "point a moral and adorn a tale." '
Bailey's circus also combines a menagerie with the attractions of the arena, and the former, which includes two large elephants and no fewer than ten camels, is exhibited during the winter at Wood's Museum, New York. Though called Bailey's, George Bailey is only the junior partner and general director, the senior partners being Avery Smith and John Nathans, who are also the proprietors, in partnership with George Burnell, of the European Circus. Sebastian and Romeo, now travelling with Barnum's show, were performing in this circus a few years ago, together with George Derious, a gymnast who, in 1869, performed some sensational feats at the Bowery theatre, New York.
The European circus of Smith, Nathans, and Burnell travels with a company of a hundred and twenty-five persons, and a stud of a hundred and thirty-four horses. The famous Frank Pastor was lately the principal equestrian, and the Conrads were among the gymnastic artistes.
French's circus was the first in America in which the system of lodging and boarding the company and stabling the horses, independently of hotels, was introduced. The cooking and dining carriage is eighteen feet long, eight feet wide, and ten feet high; and there are several large carriages for sleeping purposes. French employs a hundred and twenty persons, all told, and his stud numbers as many horses, besides two elephants, fifteen camels, and two cages of performing lions.
Campbell's show, which comprises a circus and a menagerie, is a good one of the second, or rather third, class. The circus company lately included Madame Brown (better known as Marie Tournaire), Madlle Josephine, and Sam Stickney - a name still famous in the arena. The zoological collection includes an elephant and a group of performing lions, tigers, and leopards, who are exercised by Signor Balize.
There remains to be noticed several tenting circuses of minor extent and repute, but which make a figure that would be more highly esteemed in this country. Wheeler and Cushing have a band of silver cornet players, and their company lately included Madame Tournaire, Annie Warner, and Pardon Dean, the oldest English equestrian in America. Wilson's circus included the world-famed Brothers Risareli in the company just before their appearance at the Holborn Amphitheatre. Johnson's circus was strengthened a few years ago by amalgamation with Levi North's show, which included a group of performing animals, and is now able to give a parade extending to the length of a mile. Older's circus and menagerie is a fourth-rate concern, but yet possesses two camels.
Thayer's circus was broken up by the bad business of 1869, and the stud and effects sold by auction. A new concern was organized in the same name in the following year by James Anderson, with fifty people and as many horses, Thayer being manager, Samuel Stickney equestrian director, and Charlie Abbott - the vanishing clown of a few years ago at the Holborn Amphitheatre - as clown. Ward's circus started in 1869, and broke up the same year, when Bunnell and Jones bought the stud and effects at auction for little more than one-seventh of the money they had cost, and started it again in Ward's name, in 1870. Lake's circus was sold by auction about the same time, when the ring horses were bought by Van Amburgh, and the draught stock by Noyes. There are three other circuses - Watson's, De Haven's, and Alexander Robinson's - which though they bear the high-sounding names of the Metropolitan, the Sensation, and the International Hippo-comique and World Circus, are of comparative small importance.
Besides these, there are some circuses which travel the Southern States, where the climate enables them to tent all the year round. Foremost among these is Noyes' circus, a great feature in the parade of which is the globe band chariot, drawn by eight cream-coloured horses. Hemmings, Cooper, and Whitby's show combines with the circus a small menagerie, and includes an elephant and a cage of performing lions. Grady's circus lately numbered in its company Madame Macarte, who formerly travelled with Batty, and whose real name is, I believe, Macarthy. John Robinson's circus and menagerie also possesses an elephant, and the zoological collection has been greatly enlarged of late years. Stowe's circus appears to be a very small concern.
Most of the American circuses, including all the most considerable, are accompanied, as before stated, by what are termed 'side shows,' of which the following account is given by the gentleman to whom I am indebted for the statement of the troubles of American circuses in the beginning of this chapter. 'The side show,' he says, 'is an institution of itself - one in which considerable money is invested with some concerns, while with others not so much capital is required. What is known as a side show is an entertainment given in a small canvas in close proximity to the big show. To secure the sole privilege of conducting this entertainment on the same ground as used by the big concern, and for being permitted to accompany it on its summer tour, a considerable bonus has to be paid. There is a great rivalry among side showmen to secure the privilege with the larger concerns, as a great deal of money is made during a tenting season. Some of these entertainments consist of a regular minstrel performance or the exhibition of some monstrosity, such as a five-legged cow, a double-headed calf, collection of anacondas, sword- swallowers, stone-eaters, dwarf, giant, fat woman, and anything else, no matter what, so long as it is a curiosity.
'The modus operandi of running aside show is as follows: - The manager has a two-horse waggon, into which he packs his canvas and traps. He starts off early in the morning, so as to reach the town in which the circus is to exhibit about an hour before the procession is made. He drives to the lot, and in less than an hour every preparation has been completed and the side show commences, with the "blower" taking his position at the door of the entrance, and in a stentorian voice expatiating at large upon what is to be seen within for the small sum of ten cents; sometimes the admission is twenty-five cents. The term "blower" is given to this individual because he talks so much and tells a great deal more than what proves to be true. A crowd always gathers about a circus lot early in the morning, and many a nimble tenpence is picked up before the procession is made in town. When that is over and has reached the lot, an immense crowd gathers around to see the pitching of the big canvas, and from them many drop in to see the side show. As soon as the big show opens for the afternoon performance the "kid" show, as the side show is called, shuts up and does not open again until about five minutes before the big show is out. Then the "blower" mounts a box or anything that is handy, and goes at it with a will, "blowing" and taking in the stamps at the same time. This is kept up for about half an hour, by which time all have gone in that can, while the rest have departed. The side show entertainment lasts about half an hour, when the doors are closed and remain so until the evening performance of the big show is over. And then, with a huge torch-ball blazing each side of him, the "blower" commences. This torch ball consists of balls of cotton wicking, such as was used in olden times for oil lamps; having been soaked well in alcohol and lighted, it is fixed upon an iron rod, about six feet long, which is placed upright in the ground and the ball will burn for half an hour or more; two balls will make the whole neighbourhood nearly as light as day.
'The receipts from some side shows reach over $150 a day, and with the larger concerns a still greater amount than this is taken. I know of a side show that travelled with a circus company through Vermont and the Canadas, about ten years ago, that actually came home in the fall with more money than the circus had; not that it took more money, but it did a big business, and had little or no expense. The side show belonged to the manager of the big show, and consisted of a couple of snakes, a cage of monkeys, and a deformed negro wench, who was represented as a wild woman, caught by a party of slaves in the swamps of Florida. While the big show did a poor business the "kid" show made money. Some of the circus managers do not dispose of the side show privilege, but run it themselves. Then, again, the manager of the big show rents out what is called the "concert privilege;" that is, the right of giving a minstrel entertainment within the canvas of the big show as soon as the regular afternoon and evening performances are over. This consists of a regular first part and variety minstrel entertainment, given by the circus performers, who can either play some musical instrument or dance; occasionally some of the ladies of the company dance. The show lasts about three quarters of an hour, and the charge is twenty-five cents. The clown announces to the audience, just before the big show is over, that the entertainment will be given immediately after, and those who wish to witness it can keep their seats. Several parties then skirmish among the assembled multitude and cry, "tickets for the concert, twenty-five cents," and just before the entertainment commences the tickets are collected.'
New York and New Orleans are provided with permanent buildings in which circus performances are given during the winter by companies which travel in the tenting season. At the New York Amphitheatre the company comprises some of the best equestrians and gymnasts, American and European, whose services can be secured, such as Robert Stickney, William Conrad (who, with his brother, will be remembered by many as gymnasts at the Alhambra), and Joe Pentland, one of the oldest and best clowns in the Union. The stud comprises between forty and fifty horses, all used in turn in the ring, as the summer campaign is made by rail, and only the principal towns are visited. Mr Lent is lessee and manager in New York.
The New Orleans Amphitheatre combines a menagerie with its circus attractions, and is owned by C. T. Ames. There are twelve camels attached to it, and a ‘mio,' whatever that may be, the animal being as unknown to naturalists, by that name at least, as the 'vedo' of Sanger's circus. Lucille Watson, now with Barnum's company, was previously a member of the New Orleans troupe.

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