Part 482: Ringling Bros. “The Field of the Cloth of Gold”
In 1905, Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the contract for $3,500.00.” David Hunt was in charge of New York Studios, the eastern affiliate of Sosman & Landis.
Advertisements for the new circus promised” The Regal Beauty, Brilliancy, and Splendor of an Event told in Song, Legend and History, and now made into an Eye-Story of Magnificence such as the World has never seen before.”
Each year, the Ringling Brothers presented some new feature as the traveled from coast to coats; in 1905 it was “The Field of the Cloth of Gold.” The show bill advertised, “The Vast Main Tent of the Ringling Brothers World’s Greatest Shows, wherein are presented the Superb Circuses and Hippodrome Displays, is converted into a huge, hundred-fold theatre for the presentation of the gorgeous, brilliant spectacle, the Field of the Cloth of Gold.” Of Moses’ scenic contributions, “The Washington Post” reported “The scenery is massive and brilliantly painted to show the crystal palaces, fairy structures, golden tents, and other flashing and picturesque features of this famous plain, ‘The Field of the Cloth of Gold’” (The Washington Post, 5 May 1905, page 8).
This was during an era occasionally referred to as the golden age of the Grand Circus Spectacular, or “spec.” Circus performances were opened with visual spectacles involving hundreds of participants. From 1903-1905, these lavish displays included medieval topics such as “Jerusalem and the Crusades” and “Joan of Arc.” We are familiar with a procession as the circus opens, complete with elegantly costumed performers and animals that assemble in the ring prior to the first series of acts. The early twentieth century specs involved a short dramatization that was added to the parade of animals and performers. This short play was of epic proportions, especially when produced by the largest circuses such as The Ringling Brothers.
Ringling Brothers’ 1905 production for “The Field of the Cloth of Gold” promised, “twelve hundred characters and a stage larger than those of 100 theaters combined” (The Rock Island Argus, 10 April 1905, page 5). Posters advertised, “a whole train-load of Armor, Ancient Weapons, Paraphernalia, Banners, Golden Hangings, Scenery, and Accessories. “The show toured with 1200 characters, 200 chorists, 300 dancing girls and a band of 50 soloists. The “Rock Island Argus” reported, “it is said to be the most successful historical play ever put before the people in this manner” (The Rock Island Argus, 10 April 1905, page 5).
The Coffeyville Daily Journal reported, “The Story of the ‘The Cloth of Gold,’ with which the performance is opened, is one of the most gorgeous spectacles ever presented by a circus. The story of ‘The Cloth of Gold’ is reproduced by a company of about twelve-hundred people and the costumes and scenic effects are a faithful copy of the luxury of the mediaeval courts” (The Coffeyville Daily Journal, 28 Sept. 1905, page 1).
“The Washington Post” commented that the Ringling Brothers introduced stage scenery and lighting effects for the first time in “The Field of the Cloth of Gold.” The article noted that the huge spectacle was a reproduction of this famous episode in the life of King Henry VIII of England. Here is “The Washington Post” provides a sense of scope for the project that Moses was working on: “The spectacle is revealed in its fascinating features, upon a stage larger than the ground space occupied by a score of the largest theaters in the country. Twelve hundred people are employed, and the costumes worn are made from correct historic designs, and the materials used are the costliest velvets, silks, satins, and gold and silver cloth of mail…In the pageantry functions of the scene, five hundred aristocratic, symmetrical horses are brought into the exhibition. The head stalls, bridles, saddles, and other trappings are beautifully decorated. The retinue of kings, their high officials, the dignitaries of the church, soldiery, nobility and gentry, pensioners, peasants, &c. are dressed with a lavish disregard of expense and in exact copy of the originals on the dazzling field, where the two youthful kings had their ceremonial interview. All the contests of the tournament that gave zest to the meeting are reproduced in the spectacle of the Ringling Brothers’ circus, if anything with more stimulating excitement.”
The article continued, “After the tournament, we are told, revelry reigned supreme. In the Ringling production the immense banquet hall is a faithful copy of the golden room. The climax of exhilarating gayety is the huge ballet divertissement. This original dancing conceit brings into view three hundred girls – lithe, graceful, and young – led by a galaxy of premiers of European celebrity, who make their first appearance in this country with Ringling Brothers. The music of the spectacle was written for it, and is rendered by a band of fifty soloists. The scene in its ensemble is one that holds the sense spellbound and forges another link in the chain that draws the crowds to the place of Ringling Brothers’ circus exhibitions” (The Washington Post, 5 May 1905, page 8).
To be continued…
