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Tales from a Scenic Artist and Scholar. Part 804 – Thomas G. Moses and Al Ringling, 1912

In 1912 Thomas G. Moses wrote, “January 15^th the big furnace at the studio fell over and started a fine fire – a loss of about $2,000.00, a week’s delay in repairs and getting started. I went to Baraboo in the meantime to see Ringling Brothers and close for another big spectacle. Mr. Al Ringling took me through the winter quarters of the animals, which was also very interesting. Feeding time for the lions, tigers and all the cat family was a noisy time. Watching the training for the elephants was also very interesting. The immense chain and derricks they have to use to teach the elephants to stand on their heads was strong enough to lift a battleship. A great deal of care is given to all the animals, much more than is given to the men that attend the animals. The Ringlings have their own car shop and big paint shops, and everything is taken care of here except scenery and wardrobe. They are very busy getting ready for the next season; making contracts for all supplies at every town they visit, and they certainly have some system.”

The winter quarters for the Ringling Bros. Circus.

In winter, Baraboo, Wisconsin, was home to exotic and their caretakers. Both Ringling Bros. Circus equipment and animals were cared for during their off-season, from November until April of each year. When Moses visited Baraboo during January 1912, the town had increased to include approximately 117 Ringling Brothers’ Circus employees. From late fall to early spring, the Ringling brothers planned for the upcoming season, designing new shows and working out the logistics. Winter was a time for preparation, training and hard labor as the off season provided an opportunity to design new spectacles, assemble costumes, select new acts, and rehearse animals. A team of writers developed news stories for spectacles that would open each show.

Of the 1912 Ringling circus, the “Richmond Palladium and Sun Telegram” advertised, “This season, in addition to their promised array of aerial, acrobatic and arena marvels the Ringling Bros. have produced a gigantic spectacle, Joan of Arc, on a monstrous stage erected in the bog top. There will be twelve hundred people taking part in all, three hundred ballet girls and large chorus. This is said to be the most sumptuous pageant every presented in the country. It created an enormous sensation at The Coliseum in Chicago” (6 May 1912, Richmond, Indiana, page 3). Sosman & Landis provided the new scenery that premiered at the Chicago Coliseum.

The Ringling Bros. grand circus spectacle, “Joan of Arc.”

Later in 1912, Moses wrote, “Another trip to Baraboo to see the Ringling’s about next year’s show, which I secured.” From 1905 until Al Ringling’s passing in in 1916, Thomas G. Moses completed several designs for the Ringling Bros. grand circus spectacles, also known as “Specs.” Specs were visual spectacles involving hundreds of participants, a short dramatization that was added to the parade of animals and performers. Albeit the production time was relatively short, the scale was of epic proportions.

Another Ringling Bros. Circus spectacle with scenery by Sosman & Landis.

Moses worked directly for Al Ringling, the eldest of the brothers who was in charge of hiring and supervising the circus performers during his lifetime. He was also the one responsible for contracting scenery and other specialty items for the shows, the main visionary for the group. He would later plan and construct the Al Ringling Theatre in Baraboo, again hiring Moses of Sosman & Landis to provide the scenery.

Each year, the Ringling Brothers presented some new feature as the traveled from coast to coast. In 1905 Moses designed a setting for “The Field of the Cloth of Gold.” Advertisements reported, “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).

“The Field of the Cloth of Gold” also used scenery by Sosman & Landis Studio.

Ringling contracted Sosman & Landis to manufacture spectacle settings each year, but it was solely Moses who worked with Al during the design phase. By 1912, Moses was a well-known scenic artist and designer, eagerly sought after by many well-known personalities, including Al Ringling. Although times were changing and new studios continued to pop up across the nation, Sosman & Landis still dominated the theatre industry and were known as giants in their field at this time.

Al Ringling panel at the Circus World Museum in Baraboo, Wisconsin.

To be continued…

Travels of a Scenic Artist and Scholar. Circus World Museum, March 18, 2019

After stopping by the Al Ringling Theater and Baraboo Lodge No. 34, I drove over to the Circus World Museum on Monday, March 18. My intention was to briefly meet with the curator and share my information pertaining to the grand circus spectacles produced by Sosman & Landis from 1905 to 1915.

The gal behind the desk at the museum told me to see the curator Pete. He was currently working in their library and archives across the river on an upcoming exhibit. This building was a very small and unassuming place, yet the walls were lined with posters and circus memorabilia. We chatted for quite a while, with Pete deciding that a copy of my book would be beneficial his patrons as it placed the Ringling spectacles with in a larger context and identified a major theatrical supplier to Al Ringling. He then suggested that I venture back over to the museum to look at a few pieces from the grand spectacle “Cinderella” in the museum. He called over to make sure that I could examine the setting without any difficulty and I realized that more time should have been set aside for my Baraboo side trip.

Circus World Museum with backing from the Cinderella grand circus spectacle in the background.

I whizzed through the museum and easily spotted the scenery. It was awe-inspiring to look at the painting. It depicted all of the standard trademarks for a Sosman & Landis manufacture. I especially appreciated the foil paper-backed strips to accentuate the gold capitals. What was most interesting was the heavy-duty canvas, flat seams, and basic construction that mirrored the floor cloths produced by the company. Drop construction is another area where I am slowly tucking away information.

From 1905 until 1915, Thomas G. Moses completed several designs for grand circus spectacles. The first mention of his designing one of Al Ringling’s spectacles was in 1905. Fast forward to 1912 when Moses mentioned another visit to Baraboo, Wisconsin, during the Ringling Brothers’ off-season. Moses wrote, “I went to Baraboo in the meantime to see Ringling Brothers and close for another big spectacle. Mr. Al Ringling took me through the winter quarters of the animals which was also very interesting. Feeding time for the lions, tigers and all the cat family was a noisy time. Watching the training for the elephants was also very interesting. The immense chain and derricks they have to use to teach the elephants to stand on their heads was strong enough to lift a battleship. A great deal of care is given to all the animals, much more than is given to the men that attend the animals. The Ringlings have their own car shop and paint shops, and everything is taken care of here except scenery and wardrobe. They are very busy getting ready for the next season, making contracts for all supplies at every town they visit, and they certainly have some system.”

In spring of 1912, Moses caught up with the circus in his hometown of Sterling, Illinois, as he needed to collect the final payment for the season’s production. He attended the show and wrote, “Went to Sterling to catch Ringling to collect $1,200.00. As went to the tent to find Al Ringling, I discovered everyone watching a fire – a stable at least four blocks away. A spark was blown towards the tent, the top of which is prepared with parafine to make it water-proof. It soon ignited from the sparks and in less than thirty minutes the big tent was destroyed. The rest of the tents were saved. It was mighty fortunate there were no people in the tent. Some of the animals in another tent started some noise when the smelled the smoke, but they were soon quieted. I sneaked away without making myself known. There was no money for me, that I guessed.”

Moses eventually collected the payment during 1912, and by the end of the year wrote, “Another trip to Baraboo to see the Ringling’s about next year’s show, which I secured.” They were contracted to provide the scenery for another production in 1913. Al Ringling liked the work produced at Sosman & Landis studio and its last president Thomas G. Moses. Winter was the time to plan.

Both equipment and animals were cared for from November until April of each year – their off-season. Baraboo became home to the exotic and their caretakers. In 1913, 117 Ringling Brothers’ Circus employees worked in Baraboo during the winter months. The staff included the following positions: Caring for work horses (23), caring for show horses (7), caring for menagerie animals (8), elephant caretakers (10), blacksmiths (5), railcar repair (16), paint shop (16), harness shop )3), wagon and repair shop (9), wardrobe (5), hotel (12), watchmen (2), and office (1). As the circus employed approximately 1200 people during the season, where did the remainder of employees winter? Some acts sought contracts in warmer climates, returning to Wisconsin in April for the new tour. Some workmen found work in nearby lumber camps and spent the winter in less than ideal conditions. A few took the winter months as an opportunity for rest and relaxation

It was at the winter quarters that the Ringling brothers planned for their upcoming season. Shows were chosen, costumes assembled and scenery designed for elaborate spectacles. Winter was a time for preparation, training and hard labor. There was time available to plan and rehearse the animals for another season. A team of writers wrote news stories for upcoming shoes that would tour the country. Circus wagons were repaired and repainted. Animals were exercised both indoors and outdoors. Everyone had a specific project to accomplish all year long.

Baraboo remained the winter quarters for the Ringling Brothers’ circus from 1886 to 1918. At that time the circus moved to a new location in Connecticut; it had been the Ringling Brothers and Barnum & Bailey Combined Shows since 1907 and began to recoup at the old Barnum & Bailey winter quarters.

It was not until 1954 that John M. Kelly, a personal attorney for the Ringlings, incorporated the Circus World Museum as a historical and educational facility. He had worked for the Ringlings for more than three decades. The Circus Museum opened to the public July 1, 1959. The website reports that “The museum’s collection of circus artifacts is perhaps the largest in the world. It includes over 210 original wagons and vehicles once used by American, English and Irish circuses. It houses an exceptional collection of circus ads and posters. Over 9,500 multi-colored circus posters range in size from half-sheets to an 80-sheet Buffalo Bill Wild West poster which measures 9’ high and 70’ long. Thousands of journals, manuscripts and business records are available as well as original fine art oil paintings, hand bills, heralds, programs, artifacts of circus performers and a collection of rare photographs and negatives.” I have yet to spend a significant amount of time in their archives. Here is the link to their website: http://www.circusworldbaraboo.org/

To be continued…

Travels of a Scenic Artist and Scholar: Baraboo Lodge No. 34, Wisconsin, March 18, 2019

Each of the seven Ringling brothers was a Scottish Rite Mason. They were members of the Scottish Rite Consistory in Milwaukee, a theater that boasted a Sosman & Landis scenery collection supervised by Thomas G. Moses during its production in 1913.

August Rüngeling and his seven sons all joined the Fraternity between January 1890 and August 1891. Each was raised in Baraboo Lodge No. 34 in Baraboo, Wisconsin, during that time. This is not unusual, when considering the percentage of men involved with some type of fraternity during the late 19^th century, and how the Freemasonry could become a “family affair” for fathers and sons.

Alf T. Ringling could be called the “ringleader” of the group, as he was the first to become a Freemason. Here is when each became a Master Mason: Alf T. (January 22, 1890), John (March 1, 1890), Al (March 29, 1890), Charles (April 9, 1890), Otto (April 9, 1890), Gus (Feb. 4, 1891), Henry (March 18, 1891), August Rüngeling (August 9, 1891). However, it was their combined roles as Masonic officers during 1891 that caught my eye. Their Masonic roles were noted in the minutes of a meeting on April 8, 1891: Alf T. Ringling was Worshipful Master; August “Gus” Ringling was Senior Warden; Al Ringling was Junior Warden; Charles Ringling was Senior Deacon; Otto Ringling was Junior Deacon; Henry Ringling was Senior Steward.

In 1900, “The Buffalo Courier” included the story of the Ringling family in a section called “Travelers Toward the East” (9 Dec. 1900, page 25). The article reported, “A Masonic journal says that the Ringling brothers are known all over the country as the proprietors of the Ringling Circus. Seven of these brothers are members of Baraboo Lodge No. 34 of Wisconsin jurisdiction, and after the seven were all members of the lodge the petition of the father was received. The Ringling brothers qualified themselves to confer the degrees were assigned to the several positions in the lodge, received the father into the lodge and conferred the degrees upon him.” The Baraboo Lodge rooms were above McGann’s Furniture in the building at the Northwest corner of Oak and Second Avenue, but a new building was in the making. The same month that their father was raised, the “Wisconsin State Journal” reported that the corner stone for the Baraboo Masonic Temple was “to be laid with great ceremony” that Thursday (25 August 1891, page 1). A formal procession was formed and consisted of the Baraboo lodges, Eastern Star Chapter, Royal Arch Masons, Knights Templar, members of the Grand Lodge, the members of the city council, and lead by the Baraboo military band.

The Baraboo lodge No. 34 received its charter from the Grand Lodge of Wisconsin on June 8, 1852 and early meetings took place in the Lodge Room of Purdy’s building over at the Post Office (Sauk County Standard, Baraboo, Wisconsin, 29 March 1854, page 4). Stated meetings were the first Wednesday, on or before the full moon in each month.

Baraboo Lodge No. 34 was almost four decades old by the time the Ringling brothers became members. Besides belonging to Baraboo Lodge No. 34, the brothers also belonged to Baraboo Valley Chapter No. 49, R.A.M (Royal Arch Masons); St. John Commandery No. 21 K.T. (Knight Templars) of Baraboo, and the A.A.S.R. (Ancient and Accepted Scottish Rite) in Milwaukee.

This little bit of history, prompted me to find the current location of Masonic Lodge in Baraboo on March 18, 2019. If they were open, I would stop on by and donate a book to their library. They might enjoy some additional information concerning their past and the scenic artists that Al Ringling so admired – Thomas G. Moses. After all, it was Ringling who continued to hire Sosman & Landis to deliver the painted settings for his grand circus spectacles, as well as painting the new front curtain for his theater in Baraboo.

I was in luck when I pulled into the parking space, just down the street from the new Masonic lodge building. I noticed a workman carrying in supplies, and based on past experiences, I walked up and said, “Hi, my name is Wendy,” then followed him into the building. After explaining my current trip and interest in Baraboo Lodge No. 34 and the Ringling connection, they took me on a tour of the building. What I really wanted to see was the Masonic aprons for each of the Ringling Brothers.

My tour guides could not have been more accommodating during my visit. You see, given the opportunity, people are often more than willing to share information about themselves and interests. These were three young men, fixing up their lodge on a weekday; a building that they loved.

To be continued…

Travels of a Scenic Artist and Scholar. Baraboo, Wisconsin, March 18, 2019

There is always the dilemma of whether I should drive or fly to USITT. If I fly, I miss many historic theaters that I could stop at along the way. However, that takes time, time that I often don’t have to spare. Two things prompted my driving to Louisville this year – Baraboo and Brian. In Baraboo, it was the Al Ringling Theatre (1915) and the Circus World museum. 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.

Almost a year ago, I covered in detail Thomas G. Moses’ work for Al Ringling. Moses designed and supervised the painting of six grand circus spectacles. These were events for the big top and attached to the opening parade of the circus. These huge pageants that were solely accompanied by movement and music. The Ringling Brothers found favor with Moses during the first two decades of the 20^th century, so it was Sosman & Landis who would delivered the scenery to Al’s theatre in 1915.

My late luncheon appointment with Brian was in Elgin, Illinois, at 1:45PM and I had left Minneapolis at 5:45AM; so I had a little time to spare. Fortunately the driving went well and I found myself pulling into Baraboo with a little more than 90 minutes to document what I could. I was a woman on a mission. Unfortunately the Theatre is closed on Mondays, so I was only able to see the outside. Kicking myself, as I could have called ahead, I venture to the second of three stops in Baraboo. Here is a recap on Al Ringling’s Theatre. Here is a little information about the theatre.

In 1915, Moses wrote, “The new theatre we did at Baraboo for Al Ringling was a good contract at $2,600.00. I went up to open and found a beautiful theatre, very unique in design, fifty years ahead of the town. Poor Al Ringling died soon after this.”

The Janesville Gazette reported, “Sosman & Landis company of Chicago did the scenic painting in this new theatre” (20 Nov. 1915, page 20). On April 7 of that same year, Joseph S. Sosman passed away at the age of 70, leaving a widow and two sons (Arthur and Fred). Thomas Moses became the president of Sosman & Landis, with Arthur Sosman as vice-president. The Ringling Theatre was one of Moses’ flagship projects as the new studio president.

Drop curtain by Sosman & Landis studio for Al Ringling’s Theatre

The Ringling Theatre opened its doors in November 1915 and has been operating continuously ever since. Al Ringling hired the architectural firm of Rapp and Rapp to design a theater based on the Orpheum Theatre built in Champaign, Illinois in 1914. The Janesville Daily Gazette reported, “Theatrical men, scenic painters, canvas makers and many prominent citizens from Chicago and other towns, all of whom were bound for Baraboo to do honor to a man who had the courage to build in that city one of the finest, if not the finest, playhouse in America, Mr. Al Ringling. (20 Nov. 1915, page 20). There were 844 seats, with seventeen boxes, each containing six seats. The stage was 33’-6” deep, 60’ wide and 46’ high. The massive fire curtain of asbestos measured 24’ high by 40’ wide, weighing 750 pounds.

As my hope to see the front curtain was a bust, I decided to visit the local Masonic Lodge, Baraboo No. 34. I knew it wouldn’t be the original building, but want to see the Ringling Brothers’ Masonic aprons. Score! Three men were working on the building, as it had suffered some water damage. All of the Ringling brothers and their father were Masons in Baraboo and the history is quite interesting. That is the tale for tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 548 – Al Ringling, Thomas G. Moses, and the Big Storm, 1906

Part 548: Al Ringling, Thomas G. Moses, and the Big Storm, 1906

In 1906, Thomas G. Moses wrote, “Went to St. Louis in May with new scenery for Ringling Bros. Visited Toomey. Scenery quite successful, excepting canopy. It was done in dye and a big storm came and ruined it. I was ‘called’ good and hard by Al Ringling.”

While attending to the new scenery for Ringlings’ spectacle in St. Louis, Moses visited Patrick J. Toomey, of the Toomey & Volland scenic studio; they were old friends.

It is interesting to consider Al Ringling (53 yrs. old.), yelling at Thomas G. Moses (50 yrs. old). These were two experienced individuals, both distinguished professionals at this point in their respective careers. Having and expensive piece of scenery water damaged had to have been a tense moment, especially with the artist on site for the production. Moses was referring to the scenery that he produced for the Ringling Spectacle “The Field of the Cloth of Gold.” For more information about this production, see past installments 482 and 483.

Advertisement from “Journal Times,” Racine, WI, 4 Aug 1906, page 3

For the Ringlings’ “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).

Now, imagine transporting the scenery and setting it up with high winds and rain; even the simplest task could prove deadly. The running of dye would be the least of the Ringlings’ worries. An article in “The Green Bay Press Gazette” reported, “Thousand People Brave Storm to See Circus” (23 Aug. 1906, page 3). They did the show rain or shine. The article described, “Over 1,000 people braved the storm last evening to attend Ringling Bros. circus. The storm was an exceptionally heavy one but did not deter the circus loving people from attending. The reserved seat section was about the only section in the large tent that was filled. The performance was cut short, being all over before 10 o’clock. The show was loaded up and the first section left this city shortly after 12 o’clock over the Northwestern for the Iron Mountain, where it will show today.” The caution to close early was likely a result from a deadly storm the month before.

Article from the “Dispatch,” Moline, Illinois, 30 June 1906, page 1

On June 30, 1906, the front page of “The Moline Daily Dispatch” reported “Panic and Death in a Circus Tent” (Moline, Illinois, 30 June 1906, page 1). A “sudden storm partly wrecks big canvas of the Ringling Brother’s Circus, pitched at Aurora.” Two died as a result of the storm after “swaying quarter-poles mowed down scores among the 10,000 people in attendance.” The article noted, “The band, which had been playing waltz music during the performance of the elephants, changed, under Ringling’s orders, to a ragtime quickstep in the belief that the music would counteract the panic.”

I was curious about the scenic disaster, however, that made Ringling reprimand Moses. The exterior of each tent was coated with a gasoline and paraffin mixture to make it waterproof. Circus tents were supposed to be treated with flame retardant, otherwise the fabric would create a death trap for those inside if ignited. The Ringling Bros. Circus would lose one big top when flame retardant wasn’t applied.

In regard to the ruined circus canopy painted with dye by Moses in 1906, it was still vulnerable to water. Just because a backdrop was painted in dye did not mean that it could not be water damaged. A dye drop simply helps the painted composition stand up to normal wear and tear, especially for traveling shows. The overall weight of the piece is lighter and folding doesn’t harm the scene. Dry pigment can be used in place of dyes, when applied in a series of thin glazes. Many of the colors remain quite vibrant when watered down. It is possible that early translucencies on stage were simply produced with a thin glaze of dry pigment. After all, when handling pure dry pigment, the color will easily stain fabric – as well as any exposed skin. The staining of dyes is similar to getting ink on your hands when a pen leaks.

To be continued…

Tales from a Scenic Artist and Scholar. Part 492: Ringling Brothers’ Grand Spectacle of 1913 – “Joan of Arc”

Part 492: Ringling Brothers’ Grand Spectacle of 1913 – “Joan of Arc”

Advertisement for the Ringling Bros. grand spectacle “Joan of Arc,” from the “Chickashaw Daily Express,” 18 Oct. 1913, page 7

In 1913, Thomas G. Moses wrote, “When we were setting the Ringling scenery at the Coliseum, the big elephants stampeded and there was some excitement for awhile, but the trainer went after them and brought them back and made them go through all the tricks again.” At the time, he was working on another Ringling Brothers’ grand spectacle “Joan of Arc.”

Artwork for “Joan of Arc” posters at the Circus World Museum in Baraboo, Wisconsin.

Newspapers reported that the Joan of Arc story was told by 1200 characters, 300 beautiful dancing girls, a chorus of 400 voices and 600 horses (The Daily Herald, 12 April 1912, page 4).

The “Santa Ana Register described the spectacle:

“The story of ‘Joan of Arc,’ a simple peasant girl who became the deliverer of France, and at last, betrayed by all, was burned on the public square on the false charge of heresy and witchcraft, is familiar to all. It is presented by Ringling Brothers in a masterful way, retaining to the end its pathos, its sentiment and its thrilling dramatic interest. The play begins with Joan, just sixteen years old, comes from her father’s pasture at Domremy at the command of the Archangel St. Michael to the court of Charles VII at Chinon. In the light of a thousand torches she is brought into the presence of the king in the great palace which throngs with the nobles of France. The reception which the king gives the peasant girl is filled with impressiveness and suspense. The second climax of the great spectacle is reached when Joan, dressed in armor, crosses the river at Orleans and rides at the head of the French army into the beleaguered city. One of her heralds presents himself at the English camp. Respect to the messenger of a reputed sorceress is denied and the herald is threatened with death. Another messenger is sent to defy Talbot, and to declare from the girl that if any harm is done him ot shall be retaliated on the English prisoners.

Joan in shining armor appears on a tower facing the Tournelles, bidding, the soldiers of Suffolk and Talbot to depart. This they refused to do. At the head of the French knights and archers Joan rides between the towers of the besiegers and followed by the villagers who look on in wonder at the sight of a mere girl leading the armies of France.

Joan rides through victory after victory, her mysterious power leading her on. A scene of matchless beauty is disclosed by the changing of scenery to that of the magnificent court of Charles VII at Rheims, where, through the inspired deeds of the Maid of Orleans the king is restored to his throne. Here amid regal splendor, the joyous acclaim of the populace and the pomp of pageantry, is enacted the most beautiful episode in French history. The stage version ends with the introduction of a great ballet of 300 beautiful dancing girls, a grand opera chorus, 600 horses and an ensemble of 1200 people. The closing chapter of Joan’s life is too sad for this drama of gladness, through her capture, her imprisonment and her execution are told in a series of thrilling tableaus by means of tone of scenery and a great battery of electric mechanism” (4 Sept. 1913, page 8).

The Ogden Standard reported, “Nearly one-half of an entire train section is used to transport the scenery and costumes of the spectacle of Joan of Arc. This spectacle includes a cast of 1,250 characters and a ballet of 300 girls under the personal direction of Ottokaa Bartik, ballet master of the Metropolitan Opera House, New York, and late of La Scala, Milan. In a series fo striking pantomimic pictures this spectacle tells the dramatic and historical story of the Maid of Orleans, who went forth to battle for her country and her king. The costumes and scenery used in this production are more gorgeous and costly ever secured for a presentation of this kind, either under canvas or in a theatre and the spectacle is produced with all the scenic pomp and splendor and detail of a grand opera. It is presented on a stage larger than that of ten ordinary sized theatres, occupying nearly one entire side of the main circus tent, which measure 498 by 234 feet and seats more than 12,000 persona at a performance” (1 Aug. 1913, page 9).

Scene from the Ringling Bors. grand spectacle, “Joan of Arc” in 1913, from the “Santa Ana Register,” 4 Sept 1913, page 8

After “Joan of Arc,” 375 performers took part in the ring entertainment, with approximately 200 who were recruited by Ringlings’ European agent (The Daily Herald, 12 April 1912, page 4). There were 124 acts, 40 elephants, and 108 caged animals in the traveling Ringling Brothers’ zoo.

“Joan of Arc” was reported as costing in excess of $500,000 to devise and produce (The Placer Herald, 23 Aug. 1913, page 3). Keep in mind that the amount twas half the price of “King Solomon,” the grand spectacle that the Ringlings would produce in 1914. For “King Solomon” the Ringlings added a railway car, an elephant, eighty horses, and a much larger main tent. The horses increased from 650 in 1913 to 730 in 1914. The 1913 tent measured 498 feet by 234 feet, seating 12,000. The 1914 tent measured 560 by 320 feet and added an additional 2,000 seats, totaling 14,000.

To be continued…

Tales from a Scenic Artist and Scholar. Part 491 – Baraboo Lodge No. 34

Part 491: Baraboo Lodge No. 34

Notice for Baraboo Lodge No. 34 from “Sauk Center Standard,” 29 March 1854, Page 4

While researching Masonic ties to the Ringling brothers, I stumbled across an interesting online article at the Phoenixmasonry Masonic Museum and Library website. The following information was first published in “10,000 Famous Freemasons” and then reposted at Phoenixmasonry: “In the middle 1800’s an Alsatian named Juliar had three daughters whose descendants were to make circus history. One married August Ringling, father of the Ringling Brothers; one married Gottlieb G. Gollmar, father of the Gollmar Brothers; and the third married Henry Moeller, father of the Moeller Brothers. The Ringlings and, in a more modest degree, the Gollmars were to acquire fame as circus owners and operators. The Moellers likewise became famous as manufacturers of circus wagons and materials. All of the branches of this family had early and strong connections with Masonry.” Here is the link: http://www.phoenixmasonry.org/masonicmuseum/circus_masonic_fdcs.htm.

The three Juliar sisters were Marie Salome, Katherine, and Mary. Marie “Salome” married August Ringling (Rüngeling). Katherine married Gottleib Gollmar. Mary married Henry Moeller. The three sisters had a brother Nicholas Juliar (1841-1920) who collected his sisters’ circus memorabilia. Juliar was a banker, auctioneer, and member of the Minnesota House of Representatives for two terms. His personal effects and family clippings are now part of the Memorial Library, Southern Minnesota Historical Center, Minnesota State University – Mankato.

I am not surprised about the fraternal connection to circus families; this would open the same doors that it did for traveling salesmen. Wherever they went, if there was a Masonic Lodge, there would be a network of support. But were there specific lodges that circus families connected with during their respite in winter quarters? We know that the entire Ringling family belonged to Baraboo Lodge No. 34 in Baraboo, Wisconsin. The Ringling Brothers’ Circus winter quarters were in Baraboo.

G. G. Gollmar, one of the seven charter members for Baraboo Lodge No. 34

Gottlieb G. Gollmar (1823-1914), was one of seven charter members of Baraboo Lodge No. 34 (Wisconsin State Journal, 27 June 1942, page 3). He was also founder of the Gollmar Brothers circuses. Gottleib was the son on of Joachim Gollmar & Franziska Caroline Wolf, born in Baden-Würtemmberg, Germany. He immigrated to the United States at the age of 9 and the family settled in Valley City, Ohio. He married Mary Magdeline Juliar in Chicago on 17 Nov 1848. A blacksmith by trade, he had also worked as a driver on the Erie canal alongside his friend James A Garfield. He moved to Baraboo in 1851.

Mary Juliar Gollmar’s sister, Marie “Salome” Juliar, married August Rüngeling; their children formed the Ringling Brothers circus. The Gollmar Bros. Circus was operated by brothers Walter, Fred, Charles, Ben and Jake Gollmar and lasted until 1926, finally touring as the Patterson-Gollmar Bros. Circus.

Henry and Corwin Moeller were the first cousins to both the Ringling and Gollmar brothers, operating the Moeller Bros. Wagon Co., a blacksmith shop and wagon manufactory. The family business was founded by their father Henry Moeller in June 1856 (Wisconsin State Journal, 265 April 1937, page 12). Henry was born in Saxony and learned the trade of a wagon maker in Milwaukee over the course of four years when he arrived in the United States. He married the third Juliar sister Katherine.

Their shop was located at Third Avenue in Baraboo where they built many of the ornate wagons for the Ringling Brothers’ circus, including the famous Bell Wagon of 1892. For many years, the wagons used by the Ringling Brothers were made exclusively in the Moeller Bros. shops, costing as much as $800 each, exclusive of painting.

Ringling Brothers’ 1892 Bell wagon manufactured by their cousins, the Moellers

Gollmar Bros. Circus wagon manufactured by their cousins the Moellers.

After the death of their father, the Moeller sons carried the business and transitioned more to the making of house cars and constructing special bodies for automobiles, instead of the carriages, buggies and wagons that Henry Sr. took pride (Wisconsin State Journal, 25 April 1937, page 12).

When the Moeller Bros. Co. shifted their focus from making circus wagons to other products. From the “Wisconsin State Journal,” 25 April 1937, page 12

The Moellers, Gollmars and Ringlings all belonged to Baraboo Lodge No. 34.

To be continued…

Tales from a Scenic Artist and Scholar. Part 490 – Yankee Robinson and the Ringling Brothers

Part 490: Yankee Robinson and the Ringling Brothers

While examining the Ringling family’s Masonic activities, I wondered about the key individuals who may have introduced the Ringling brothers to the Fraternity. After a little digging, I came across a vague reference to Fayette L. Robinson, or “Yankee Robinson,” who was a Freemason. Robinson was described by the Ringling Brothers as the man who taught them how to run a circus.

Fayette Lodawick “Yankee” Robinson (May 2, 1818-Sept. 4, 1884) was a showman and clown. He was born near Avon Mineral Spring in New York. First working with his father as a shoemaker in West Richmond, New York, he later opened his own shop in Medina, Michigan in 1837. After his young wife suddenly died within a few short months of their marriage, he moved to Dansville, New York, in 1838. He continued as a shoemaker, but he also entered the entertainment business. In Danville, Robinson changed careers by 1845, exhibiting two oil paintings by S. C. Jones representing “The Raising of Lazarus” and the “Baptism of Christ” while lecturing on Biblical subjects. Each painting measured 12 feet by 15 feet. By the end of the year, Robinson was performing in “Richard III” for a theatrical troupe in St. Louis. By 1846, he organized the Olympic Serenaders and performed with a few other troupes in Cincinnati. By 1848, he was traveling with a new wife and Charles Gibson, a musician, in a two-horse wagon and later on a river boat. After many trials and tribulations, the small group expanded and continued until 1851. From 1852 to 1853, Robinson was first billed as “Yankee” when he leased Frank’s Museum in Cincinnati. He then toured “Uncle Tom’s Cabin” and “Sam Patch.” During the winter months, he managed a theater in Dayton, Ohio.

Advertisement for Robinson’s Atheneum from “The Wisconsin State Journal,” 10 Jul 1855, page 2

In1855, the “Wisconsin State Journal” reported, “Robinson’s Atheneum,” that was originally established on August 5^th, 1845, was now elegantly refitted for the Campaign of 1855! Embracing over 100 Men and Horses!” (Madison, Wisconsin, 10 July 1855, page 2). The advertisement continued, “This vast establishment – the only one of the kind in the world- will give their varied performances at Madison, Wednesday, July 18, Afternoon Performance at 1 o’clock, Evening Performance at eight. A grand colossal marquee of the largest size, which will accommodate nearly 4000 persons.” Yankee Robinson was referred to as “son of Momus” and “the people’s funny man. Gymnastic, dramatic and pantomimic.” Prior to the show, his Atheneum Band played music as they paraded through the principal streets in their “mythological car, followed by a train of over 20 vehicles, forming and imposing and grand procession.” This was the exact sane formula that the Ringlings would later use in their circus. The admission Robinson’s circus during 1855 was 40 cents, with children half price. Today’s buying power equivalent is $11.59 for adults and $5.79 for children, a reasonable price for entertainment and in some cases cheaper than seeing a movie today.

Advertisement for Yankee Robinson in 1858 from”The State and Union,” 18 Aug 1858 page 2

Some of Robinson’s history was passed along over a century later in 1958 by Samuel G. Barker. Barker attended the first performance of the Yankee Robinson-Ringling Bros. Great Double Show May 19, 1884 in Baraboo, Wisconsin. In 1958, he was interviewed by the “Des Moines Tribune” about the life and legacy of Yankee Robinson (30 May 1958, page 16). Standing next to Robinson’s grave in Jefferson, Iowa, Barker explained “Yankee was the first man to put on ‘Uncle Tom’s Cabin’ as a traveling tent show. About 1850, Yankee Robinson owned a 175-horse circus – a circus which required 175 horses to move it from town to town. In 1860, he owned the richest circus in America – a 225-horse affair.”

Advertisement for Yankee Robinson from “The Reading Times,” 18 June 1859 page 3

Advertisement for Yankee Robinson from the “Summit County Beacon,” 18 Aug 1858 page 2

Advertisement for Yank Robinson from “The Portage Sentinel,” 19 Aug 1858 page 3

Robinson discovered a successful formula during the 1850s that drew people into his show. It was a variety show that consisted of “equestrianism, acrobatic and gymnastic exercises, and herculean feats, &c., that were interspersed and enlivened by the comicalities of the CLOWN” (Edgefield Advertiser, 1 Dec. 1858, page 3). Robinson’s ads explained that their “entertainment differs materially from old fogy Circuses.” It reported as having “SCENERY and FIXTURES ample to present the GREAT MORAL DRAMA of the Days of ’76: or the Times that Tried Men’s Souls!’ On which Yankee Robinson will ‘Stand down’ the Hall. This great Drama is founded on incidents which occurred during the settlement of the Scioto Valley. It excels anything over introduced in public amusements.” Two companies performed in the same tent with “Yankee Robinson” on a “regular elevated stage with splendid scenery.”

The “Reading Times” from 1859 included an advertisement about Yankee Robinson’s “Double Show, Circus and Theatre” (18 June 1859 page 3). Robinson now boasted over 150 men and horses, with six lady performers and five clowns. His spacious touring pavilion (tent) accommodated “nearly 3,000 persons” to see his spectacle “Days of ’76.”

Over the years Robinson’s shows included Burt & Robinson’s Old-fashioned Circus, James Melville and Jerry Mabie’s Australian Circus. In 1866, he erected Yankee Robinson’s Coliseum and Zoological Garden in Chicago. During the early 1870s, Robinson worked along the west coast and organized a hippodrome, menagerie, and a circus with a stage. He was an incredibly busy showman, simultaneously working on a variety of projects during this time. Al Ringling worked for the “Yankee Robinson Circus” before starting his own theatrical troupe in 1882. He then joined forces with Robinson to create the “Yankee Robinson and Ring-ling Brothers Great Double Shows, Circus and Caravan” in 1884.

In 1884, Robinson became very ill at and died shortly thereafter on August 27, 1884. Robinson always wore a Masonic pin. It was this small piece of jewelry that ensured care during his final days and a Masonic burial. Cemetery Stories published in “Iowa Living Magazines” reported, “There’s the great circus entertainer and owner who landed in his deathbed in Greene County named Fayette Yankee Robinson, who took ill on the train between Bagley and Lohrville and was taken off the train in Jefferson by the conductor as no one thought he would make it to the next stop. He died in Jefferson and was buried in the Jefferson Cemetery in 1884. No one knew his name at the time he took sick, and he wasn’t able to tell them. However, amongst his belongings was an item [Masonic pin] that identified him as belonging to the Masons. Members of the local Masonic Lodge helped take care of Robinson until he died and paid for his burial in the Jefferson Cemetery. At the time of his death, he was partnered with the Ringling Brothers. Numerous years after his death, the Sells Brothers and the Ringling Brothers circus companies had a huge monument made for his grave. The marker bears the date 1890. As late as 1996, circus and tent performers coming through the area would visit the grave, leaving flowers and other memorabilia.” (http://www.iowalivingmagazines.com/2013/10/09/cemetery-stories-5/).

Yankee Robinson’s memorial grave in Jefferson, Iowa, built by the Ringling Brothers and Sells Circus families in 1890 for their mentor.

“The Evening Bulletin” reported the “Death of ‘Yankee’ Robinson” in 1884 (Maysville, Kentucky, 6 Sept 1884, page 4). “New Jefferson, Iowa, Sept. 6. – Fayette Ledawick Robinson, better known as ‘Yankee’ Robinson, the famous circus and theatrical showman, died here Thursday afternoon, aged sixty-six years. He had devoted nearly fifty years to the show business. He was a lineal descendant of Dr. Robinson, the eminent divine who came to this country with the Pilgrims in the Mayflower. ‘Yankee’ Robinson was a prominent Freemason, and the fraternity here will have charge of the funeral.”

Additional details about Robinson’s career and life can be found at the Circus Historical Society’s webpage “Olympians of the Sawdust Circle.” Here is the link: http://www.classic.circushistory.org/Olympians/OlympiansR2.htm

To be continued…

Tales from a Scenic Artist and Scholar. Part 489 – It’s all a (Masonic) Circus

Part 489: It’s all a (Masonic) Circus

This illustration of the five Ringling Brothers appeared in The Arkansas Democrat, 2 Oct. 1891, page 8

In my last post, I explored staged spectacles depicting the reign of King Solomon, and their appeal to Freemasons. Today, I am examining the connection that linked the Ringling Brothers with Freemasonry. The Ringlings Masonic affiliation may have provided additional incentive to stage the grand circus spectacle “King Solomon” in 1914.

By 1914 dozens of Scottish Rite stages had been constructed and held massive scenery collections to stage Scottish Rite degree work. Masonic backdrops depicted the private apartments, throne room, courtyard and the Temple of King Solomon. Scottish Rite Bodies with scenery collections were located all across the country.

To look at the sixty-one scenery collections solely produced by Sosman & Landis (Chicago) and Toomey & Volland (St. Louis) from 1896-1914 puts it in perspective. These installations included painted scenery for Scottish Rite Theatres in Little Rock, Arkansas; Tucson, Arizona; San Francisco, Stockton and Los Angeles, California; Atlanta, Georgia; Chicago, Springfield, E. St. Louis, Quincy and Bloomington, Illinois; Davenport and Dubuque Iowa; Fort Wayne, Indianapolis, and Evansville, Indiana; Fort Scott, Fort Leavenworth, Wichita, Kansas City, Lawrence and Salina, Kansas; Louisville and Covington, Kentucky; Portland, Maine; Bay City, Michigan; Duluth and Winona, Minnesota; St Louis and Joplin, Missouri; Omaha, Nebraska; Butte and Helena, Montana; Clinton and Jersey City, New Jersey; Santa Fe, New Mexico; Rochester and Buffalo, New York; Charlotte and Asheville, North Carolina; Grand Forks, North Dakota; Toledo, Davenport, Youngstown and Canton, Ohio; McAlester and Guthrie, Oklahoma; Bloomsburg and Pittsburg, Pennsylvania; Yankton, South Dakota; Memphis, Tennessee; Dallas, El Paso and Austin, Texas; Salt Lake City, Utah; Danville, Virginia; Milwaukee, Wisconsin; Wheeling, West Virginia; Tacoma, Washington; and Cheyenne, Wyoming. These are the collections that I have tracked, yet there were many, many more by 1914 and some Scottish Rite Valleys had purchased more than one collection by this point as membership dramatically increased during the first decade of the twentieth century.

In fact, August Rüngeling and his seven sons all joined the Fraternity between January 1890 and August 1891. Each was raised in Baraboo Lodge No. 34 in Baraboo, Wisconsin, during that time. This is not unusual, when considering the percentage of men involved with some type of fraternity during the late 19^th century, and how the Freemasonry could become a “family affair” for fathers and sons. Alf T. could be called the “ringleader” of the group as he was the first to become a Mason. Here is when each man became a Master Mason: Alf T. (January 22, 1890), John (March 1, 1890), Al (March 29, 1890), Charles (April 9, 1890), Otto (April 9, 1890), Gus (Feb. 4, 1891), Henry (March 18, 1891), August Rüngeling (August 9, 1891). However, it was their combined roles as Masonic officers during 1891 that caught my eye. Their Masonic roles were noted in the minutes of a meeting on April 8, 1891: Alf T. Ringling was Worshipful Master; August “Gus” Ringling was Senior Warden; Al Ringling was Junior Warden; Charles Ringling was Senior Deacon; Otto Ringling was Junior Deacon; Henry Ringling was Senior Steward.

Baraboo Lodge No. 34 was almost four decades old by the time the Ringlings became members. Besides belonging to Baraboo Lodge No. 34, the seven brothers also belonged to Baraboo Valley Chapter No. 49, R.A.M (Royal Arch Masons); St. John Commandery No. 21 K.T. (Knight Templars) of Baraboo, and the A.A.S.R. (Ancient and Accepted Scottish Rite) in Milwaukee.

To be continued…

Tales from a Scenic Artist and Scholar. Part 488 – The King Solomon Story

As I started to explore the Ringling Brothers’ grand spectacle, “King Solomon and the Queen of Sheba,” I could not help but think of the many stage settings for the Ancient and Accepted Scottish Rite of Freemasonry. The designs include a variety of images from King Solomon’s Temple, the Sanctum Sanctorum, palatial apartments and the throne room. The story of the construction of King Solomon’s Temple was a subject dramatically acted in both Blue Lodge rooms and in Scottish Rite stages as part of their degree work. It was also a rich and popular subject for a variety of nineteenth-century entertainment venues.

The construction of the Temple and the assassination of its chief architect Hiram, remain a prominent topic in Masonic degree work, especially as a morality play. This story acted in lodge rooms was expanded upon and theatrically staged for Scottish Rite degree work. Never exclusive to the Fraternity, the reign of King Solomon was a popular subject for a variety of visual spectacles throughout the nineteenth century.

Poster for the Ringing Brothers’ 1914 Grand Spectacle “King Solomon and the Queen of Sheba”

1901 Masonic setting for King Solomon’s Throne Room at the Scottish Rite in McAlester, Oklahoma.

Detail of setting by Sosman & Landis produced for the Scottish Rite in Little Rock at the turn of the twentieth century.

In past posts, I have covered the subject of King Solomon on both public and private stages, including two 1840s touring show that featured “Chemical Paintings,” also known as “Magic Pictures.” These small painted backdrops transitioned from day to night as the composition was alternatively lit from both the front and back (see past installment #320). Newspapers from the time reported, “by modifying the light upon the picture, exhibits two entirely distinct representations upon the same canvas” (The Times-Picayune, 20 Dec. 1842, page 3). The Inauguration of Solomon’s Temple was one of four scenes that toured with the show. For a more thorough understanding of the 1842 exhibition, here is the description of “The Inauguration of Solomon’s Temple” as published in “The Times-Picayune:” “This painting represents the magnificent Temple of Solomon, son of David, which he caused to be erected in Jerusalem. Seen in the daytime, it exhibits to the spectacular the richness and elegance of its exterior architecture. The same Painting soon after passes through all the modifications of light: then night comes on, (effects obtained by the decomposition of light, a new process of painting invented by Daguerre,) the Temple appears illuminated interiorly by degrees, reflecting a bright light exteriorly, which discovers a great multitude of people flocking to adore the Ark of the Covenant, which the High Priest has deposited in the Tabernacle” (New Orleans, December 29, 1842, page 3).

1842 advertisement for the visual spectacle called “chemical paintings” of the “Inauguration of Solomon’s Temple”

King Solomon’s Temple scene at the Scottish Rite in Cheyenne, Wyoming

Detail of painted setting for the Scottish Rite in Cheyenne, Wyoming

Now to understand the popularity and appeal of the subject to Freemasons, I want to contrast these two events. The 1842 scenic effects, exhibited at the end of a darkened room suggested the possibilities for dramatic effects during degree work. As a Mason who attended the 1842 exhibit, I might leave full of ideas that could make the degree work in my small lodge room better. In contrast, the Ringling Brothers’ spectacle of “King Solomon” was produced at a scale that the Fraternity could never achieve. By 1914, dozens of Blue Lodge and Scottish Rite stages were using painted scenes that depicted King Solomon’s Temple, palatial quarters and the nearby landscape. They all paled in comparison with the grand spectacle at the circus, yet the same scenic artists were painting the sets for each venue.

Tomorrow, I will and taking the day off and will examine the Masonic history of the Ringlings on Wednesday.

To be continued…