Part 447: Thomas G. Moses and “Egyptia”
In 1902, Thomas G. Moses listed the some of the shows that he worked on during 1902. He listed “Egyptia” – as “a big spectacle.” Of all the shows that Moses listed in 1902, this one stumped me. I found a small reference to a collection of operas online, titled “Egyptia.” That year, there was also a patent for a new paint called “Egyptia.” The Dayton, Ohio Roofing Co. filed to use the label for roof-paints or paints for metal and composite roofing (The Official Gazette of the United States Patent Office, 38.133, Washington, D.C., 15 April 1902, page 210). The patent wasn’t issued due to a prior use of the name since 1897. Although interesting tidbits, nothing seemed to fit Moses’ description for a spectacle called “Egyptia.” Then I discovered a newspaper article that featured the star of an Italian acrobatic troupe – “Egyptia.” This possibly was the spectacle that Moses was referring to in hos memoirs.
I have noticed that much scenery for American spectacles during the late nineteenth century was produced for productions that featured acrobatic acts. One example is the extensive scenery produced by the Hanlon Brothers to accompany their shows; lovely backdrops, mechanical stage effects and transition scenes were all part of the act. In fact, the Hanlon Brothers hired William Knox Brown as one of their stage mechanics to develop scenic effects in their Massachusetts studio (see past installment #155). Brown later became one of the three founders for the Twin City Scenic Co. in Minneapolis Minnesota (1894-1979).
“Egyptia Picchiani” may, or may not, be the Egyptia spectacle that Moses produced scenery for in 1902. Regardless, it is a fascinating read that I am going to share.
Here is the article from “The St. Louis Post-Dispatch (3 July 1902, page 2):
“Seven girl gymnasts from the sunny shores of Italy are one of the big attractions at Forest Park Highlands this week. Women gymnasts are rare, and rarest of all are they when they do their feats in parlor clothes.
The seven Picchiana Sisters come on the stage in swell satin dresses, cut low and short sleeves. The skirts of their costumes have ruffles and frills. Their hair is coiffured as if they were going to a ball, and adorned with side combs, satin and velvet bows, and even flowers. Nothing gets out of place in all the somersaulting, hand-springing and tumbling they do.
The Picchianis were born in Florence. Their father was a noted acrobat, who has just celebrated his fiftieth stage anniversary. He is still in the business, although not as nimble as formerly. He taught all his children to become acrobats and began their education, when 2 years old. The troupe now at the Highlands began to show for the first time on any stage at Alexandria, Egypt, in 1890. Eight years before that date Egyptia Pichiani was born in the Nile country, hence her name. Signor Picchiani, brother of the seven sisters, who is with them on the stage, says that at first they did their act in tights.
‘Then we switched to dresses,’ said he the other night, as he mopped the perspiration from his face after a particularly difficult feat. ‘It took four years of hard practicing before we were able to do in skirts what we had done all our lives in tights. Since then we have played in every large theatre in the world.
‘My sister, Egyptia, who does some of the most daring things of all the girls is now 19 years old. Like myself, she went on stage when she was 2 years old. She does some very difficult things, but the feat which is original with us is the cross-pver somersault. Egyptia is on my shoulders, Louise on the shoulder of our eldest sister. They pass each other from shoulder to shoulder, making a double somersault. No other company does that. We were a year practicing before we attempted it for the first time in public. It requires some wonderful close gauging, and no one has ever imitated it as it is too risky.’
The Picchiani practice every morning on the stage of Forest Park Highlands just as hard, as if they were novices in the business. Last Sunday night Louise Picchiani missed in the difficult shoulder to shoulder turn.
The second time she accomplished it without a hitch. But there was a great row afterwards back of the stage, because of that one failure.”
To be continued…
