Grand Circus Spectacle – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 868: The John Robinson’s Circus “King Solomon and the Queen of Sheba,”

In 1914 Sosman & Landis created scenery for the Ringling Bros. grand circus spectacle “Solomon and the Queen of Sheba.” Over a decade earlier, the John Robinson circus also included “King Solomon and the Queen of Sheba” at a circus spectacle. It provided a rich and popular subject for a variety of nineteenth-century and twentieth century entertainment venues.

King Solomon and the Queen of Sheba circus spectacle advertised in the “Wichita Beacon,” 18 Aug 1900, page 5.

John F. Robinson and his circus spectacle “King Solomon and the Queen of Sheba” from the “Knoxville Sentinel,” Oct 15, 1903.

The King Solomon story was also staged for Ancient and Accepted Scottish Rite of Freemasonry degree productions at this time. Masonic designs included a variety of settings from King Solomon’s reign, including the Temple, Sanctum Sanctorum, his private apartments, audience chambers, and the throne room. The story of the construction of King Solomon’s Temple was a subject dramatically presented in both Blue Lodge rooms and on Scottish Rite stages as part of their ceremonials. The construction of the Temple and the assassination of its chief architect Hiram, are a prominent topic in Masonic degree work. This story dramatically presented in lodge rooms was 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.

King Solomon degree setting for Scottish Rite degree work by Sosman & Landis Scene Painting Studio, ca. 1904.

Here is the 1842 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).

Any Mason who attended the 1842 exhibit might leave full of ideas that could make the degree work in my small lodge room better. The scenic effects exhibited at the end of a darkened room suggested the possibilities for dramatic effects during degree work. By the 1850s, the first Scottish Rite stages began to appear, with painted settings and costumed figures under stage lights. Fast-forward a few decades.

In 1891, a King Solomon spectacle was a feature for the Piedmont Exposition in Atlanta, with nightly performances from Tuesday until Saturday (Atlanta Constitution, 19 Oct 1891, page 6). Although met with some controversy from the conservative Christian faction of the time, a series of rebuttals supported the productions. It was a popular production. By 1899, the King Solomon story was picked up by the John Robinson Circus.

Newspapers in 1900 announced “a magnificence of a scenic spectacle of Solomon and Queen of Sheba” produced by the John Robinson Circus (Marshall County Independent, Plymouth, Indiana, 25 May 1900, page 8). It was one of ten big shows that toured with his circus Advertised as the oldest circus on the road in 1824; by 1900 the third generation of John Robinson descendants advertised it as the Robinson Show (Fort Scott Weekly, 9 Aug. 1900, page 8). The John Robinson Circus was one of the oldest running family circuses in the United States. The four generations that managed the circus were John Robinson I (1807 – 1888), John F. Robinson II (1843 – 1921), John G. Robinson III (1872 – 1935) and John G. Robinson IV (1893 – 1954). Here is a link to the circus’ history as it is quite fascinating: http://www.circusesandsideshows.com/circuses/johnrobinsoncircus.html

Three of the four Robinsons who would run the Robinson Circus.

John Robinson Circus advertisements promised, “Nothing Old But the Name” and the “Wichita Daily Eagle” reported, “The most interesting feature in the performance that the Robinson show has is the spectacular production of King Solomon, which was especially beautiful under the dazzling lights in the evening. This part of the show is gorgeously staged and in effect if like the great spectacle production in America of 1893. Triumphal marches, to the music of trumpets, and an acceptionally [sic.] good band, fifty or more girls attired in oriental costume, a hundred on horses representing various clans and allies, correctly costumes true to history, and later ballet and dancers, the story in pantomime of the judgment of King Solomon on the parable of the babe claimed by two women, and closing with the visit of the queen of Sheba, were all produced in magnificent manner. The regular circus performance which followed contained some old features always seen, but it also contained many new features and original idea which makes the show more interesting than the simple old fashioned circus” (Wichita Beacon, 18 Aug. 1900, page 5).

Advertisement for the John Robinson’s circus “King Solomon and the Queen of Sheba,” form From the “Ottawa Herald,” 5 Aug. 1900, page 5.

In 1900, Robinsons Circus advertisements noted that the production included 1,000 men and women, 500 horses, elephants, camels and 100 ballet dancers, transported across the country in several trains of cars. Furthermore, $2,000,000 was purportedly invested in the show. There were “20,000 seats for 20,000 people under an absolutely water-proof canvas,” “40 camels hitched to a $20,000 Golden Chariot,” and “Forty Soul Stirring, Fearless, Madly Ridden Hippodrome Races, Forty” (Wichita Beacon, 18 Aug. 1900, page 5).

John Robinson Circus advertisement from the “Kingman Journal,” 10 Aug. 1900, page 6

By 1902, the “Knoxville Sentinel” advertised the Robinson Circus, reporting, “The Bible contains within its covers no pages so attractive in interest, so impressive in description, so reverential and so expressive of divine devotion, so rand in developments, as those which relate to King Solomon and his reign. It was a felicitous thought, then of the celebrated artist, John Rettig, that led him to contemplate the reign of Solomon as the subject for a spectacle, and to select that period of Solomon’s administration when the king is visited by the Queen of Sheba, as the theme for his grand and all overshadowing masterpiece of vast spectacular presentations (15 Oct. 1902, page 2). A year later, the “Courier Journal” added, “It was a wise thought of the celebrated artist John Rettig, that led him to take the reign of Solomon as the subject for a spectacle” (23 April 1903, page 4). The Robinson Circus show was designed by Cincinnati scenic artist John Rettig and directed by Charles Constantine. Rettig (1858-1932) was a friend of Thomas G. Moses and the two traveled in the same circles.

John Rettig, scenic artist and design for the John Robinson Circus spectacle, “King Solomon and the Queen of Sheba.” From his obituary notice, May 2, 1932, page 2.

“The Oswego Independent” published, “The ‘Queen of Sheba’ was a sight to behold, Arrayed in circus tinsel, with cheap finery and frippery, supposed to represent the original in her journey to view the wonders and glories of King Solomon, she was a sight never to be forgotten, and was a libel on the original, as word painted in the scriptures” (Oswego, Kansas, 31 August 1900, page 3). The “Newton Kansan” added, “The spectacular representation of scenes in connection with the lives of King Solomon and the Queen of Sheba was a novel feature and was one of the best things in the show, but would be vastly improved if shortened as it becomes tiresome” (17 Aug, 1900, page 1). Most reviews, however, were pleased with the presentation. The “McPherson Weekly Republican,” commented, “The presentation of King Solomon’s court, the temple and the amusements of the ancient Hebrew court were a big surprise in excellence and would have done credit to a large opera house performance” (24 Aug. 1900, page 7).

Of the production, an advertisement in the “Wichita Daily Beacon” stated, “King Solomon and Queen of Sheba. Dwarfing and overshadowing to comparative insignificance interior and out door spectacular events of the era. Replete in sacred realisms, historical accuracies, Biblical events, colossal processions, and introducing all the ceremonies with the original pomp and splendor of the Court of Solomon.” In 1929, the John Robinson Circus was still featuring “King Solomon and the Queen of Sheba.”

1929 photograph of the John Robinson Circus for sale online. Note the costumes for the King Solomon circus spectacle.

1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/
item/10696/view/1/1/

Detail of 1929 photograph of Robinson’s Circus production “King Solomon and the Queen of Sheba” from the Library of Congress digital database. Here is the link: Circus tent pix source: https://www.wdl.org/en/
item/10696/view/1/1/

By 1914, spectacles depicting King Solomon’s life were still a popular to many, including the thousands of men who continued to tell the story in Masonic ceremonials. The Ringling Brothers’ spectacle of “King Solomon,” however, was produced on a much grander scale than any other circuses or fraternity. The Masonic settings at Scottish Rite theaters paled in comparison with the grand spectacle at the circus, yet the same scenic artists were painting the sets for each venue.

To be continued…

Tales from a Scenic Artist and Scholar. Part 867: Ringling Bros. Grand Circus Spectacle ‘Solomon and the Queen of Sheba,’ 1914

Thomas G. Moses designed the scenery for the Ringling Brothers grand circus spectacle, “King Solomon and the Queen of Sheba.” Sosman & Landis delivered the scenery for the production in 1914.

In 1914, Thomas G. Moses wrote, “Jan. 6^th, went to Baraboo, Wisconsin, to see the Ringling’s for the new spectacle, ‘King Solomon.’ Another big show. Made a model for one scene and got $2,900.00.” Moses was referring to the 1914 Ringling production “Solomon and the Queen of Sheba” that toured throughout the United States. Later in 1914, Moses wrote, “Ringlings’ work came out very good. Everyone was pleased and that is saying a good deal.”

I have mentioned this grand circus spectacle, or spec, in the past, but it is worth repeating. It provides an additional layer of context for the painted tradition preserved in Scottish Rite theaters.

“King Solomon and the Queen of Sheba” was presented in a series of dramatic pantomimic pictures staged with “all the lavish splendor and opulence that marked the period when the wise Solomon ruled the Kingdom of Israel, the action of the spectacle is laid in Jerusalem, at the time of the historical visit of Balkis, Queen of Sheba” (Star Gazette, Elmira, NY, 21 May 1914, page 3). The Star Gazette reported, “The spectacle is presented on an enormous, specially constructed stage, which occupies nearly one entire side of the main tent. The tent measures 560 by 320 feet and seats 14,000 people at a performance” (21 May 1914, page 3). Remember that two shows were given daily; one at 2pm and one at 8PM, and the doors opened an hour before show time, allowing spectators to visit the 108 cages in the Ringling zoo and purchase candy and souvenirs!

In 1914, the “Indianapolis Star” reported, “Nero has watched his Rome burn to a cinder beneath a circus tent. Pompeii has fallen to ruins in the scattered sawdust of the ring and Cleopatra has taken her last look at Egypt before the clown’s entry. And now the wise King Solomon and the Queen of Sheba have been made the hero and heroine of the circus spectacle, surrounded with all the gorgeous pageantry and lavish costumes a showman can devise” (4 May 1914, page 3).

Thomas G. Moses designed the scenery for the Ringling Brothers grand spectacle, Solomon and the Queen of Sheba” in 1914.

On May 21, 1914, the “Star Gazette” reported:

“Nearly half of the entire train section is used to transport the scenery and costumes used in the massive spectacle, ‘Solomon and the Queen of Sheba.’ The spectacle includes a cast of more than 1,250 characters and a ballet of 300 dancing girls under the personal direction of Ottokar Bartik, ballet master of the Metropolitan Opera House, New York, and late of La Scala, Milan. The music for this spectacle has been written by Faltis Effendi, formerly bandmaster of Khedive of Egypt, and is rendered by an orchestra of 90 musicians, 400 trained singers and a chorus of 1,000 voices accompanied by a cathedral pipe organ, costing $100,000. The Ringling Brothers’ have expended $1,000,000 in the production of this mammoth spectacle which faithfully and accurately portrays the pomp and ceremony, life and wisdom of a period a thousand years before Christ, and introduces Solomon in all his glory and Balkis, Queen of Sheba, the most interesting woman of her day” (Star Gazette, Elmira, NY, 21 May 1914, page 3).

From the “Reading Times,” 16 May 1914, page 9.

From the “Pittsburg Press”, 5 May 1914, page 16.

The US Inflation Calculator measures the buying power of $1,000,000 in 1914 to be the equivalent of $25,200,600.00 in 2018. Fifty men were needed to handle scenery and special effects (Dayton Daily News, 26 April 1914, page 31).

When the circus arrived in Elmira, New York during 1914, the “Star Gazette” included a large article about the early morning arrival and events, advertising:

“The big circus is almost here. Tomorrow morning in the small hours just before dawn, four long red and yellow trains, made up of 86 cars will roll quietly into Elmira coming from Binghamton, over Lackawanna railroad. They will be unloaded immediately and within a few hours the big aggregations of world wonders which comprises Ringling Brothers’ ‘world’s greatest shows’ will be safely sheltered under twenty acres of white canvas on the show grounds.”

From the “Sheboygen Press,” 7 July 1914, page 1.

The circus included an elaborate parade that traversed the principal streets of each town on the morning of their arrival. The “Star Gazette” announced, “The cavalcade which, it is promised, will be the longest and most gorgeous display ever seen in the streets of this city, will start from the show grounds promptly at 10 o’clock. It will be more than three miles in length and will include all the performers and animals, in addition to the long procession of handsome tableau wagons and allegorical cars, filled with pretty dancing girls in gay costumes. Six bands and two calliopes will furnish the music for the cavalcade and the fifty famous Ringling clowns will be on hand to keep the sidewalk spectators in good humor. A striking feature of the procession will be the long line of elephants, forty in all, and a team of sixteen camels, broken to bit and harness driven the same as horses. These beasts draw a huge parade wagon and this is the first instance on record where the ‘ship of the desert’ has ever been successfully broken to harness and bit.”

The “twenty-four hour man” arrived a day ahead of the circus to set up the infrastructure needed to feed an enormous amount of people and animals. Other circus staff that arrived a day early included “a number of stage and electrical experts who precede the show to make arrangements for the staging and lighting of the big spectacle “Solomon and the Queen of Sheba.” It is important to remember that the King Solomon spectacle was just one of the principal features for the Ringling Brothers’ program that season; it was not the whole show. This makes theatrical touring shows, such as “Ben-Hur,” seem like child’s play when compared with the logistics of a touring circus with thousands of moving parts.

The first train to arrive was the commissary department and the first tent to be pitched on the show grounds was the “cook house.” The second and third trains pulled the heavy red wagons, loaded with canvases, properties, the elephants, the 730 horses and the other animals. On the last train, composed entirely of sleeping cars, arrived all of the performers and ancillary staff members for the show.

The Queen of Sheba was played by Mme. Bartik, a Russian actress and a pupil of M. Pierre Devereau, the French teacher of pantomimic art.

From the “Indianapolis Star,” 4 May 1914 page 3.

One of the things that I keep thinking about is the logistics of organizing and managing a touring circus a century ago, especially the 1914 Ringling Brothers’ “King Solomon and the Queen of Sheba.” The Pittsburgh Press published an article that provides insight into the 1914 circus (11 May 1914, page 14):

“The big enterprise bearing the name of the five brother showmen arrived in Pittsburgh in the small hours of Sunday morning and with very little noise and no confusion an enormous tented city was quickly established on the show grounds in East Liberty. The show came from Wheeling, W. Va., where it exhibited on Saturday, and it was met in the yards of the Pennsylvania railroad by a vast horde of excited youngsters who had braved both the displeasure of parents and Sunday school teachers in order to be on hand to help unload the elephants and lead the spotted ponies to water. All day yesterday they loitered around the East Liberty grounds watching the erecting of the tents and other unusual sights.

Twenty-four tents are required this season. The main canvas – the big top is the largest the Ringlings have ever used – is especially constructed, not only to accommodate the circus with its three rings, stages and hippodrome track, but also arranged for the massive spectacle ‘Solomon and the Queen of Sheba,’ which is presented on a stage five the size of that found in the largest theater. The Ringling circus is a perfect city in itself traveling every night, making a new city every day and morning with more system, rapidity and less fuss and noise than any branch of the army. To prepare for its coming exactly 106 representatives, each with a various mission to perform, have visited this city.

All of the cooking for this enormous enterprise is done by steam and in ranges built in a wagon weighing six tons and drawn by eight horses. As a mere detail of the marketing the circus consumes daily 4,500 pounds of fresh beef, 300 dozen eggs, 800 pounds of bread, 150 pounds of sugar and other items equally as large. The first order to the cooks in the morning is for 5,200 griddle cakes and yet, as large a number as this may seem, it is only four a piece. For the stock and animal department there are used daily: 10 tons of hay, five tons of straw, 300 bushels of oats, while no well behaved elephant would think of starting his day’s labor without his morning cereal – a bale of hay. Most of all, these purchases are made from local merchants.

The circus travels on its own trains and only requires engines and crews from the railroads. The show also carries its own blacksmiths, horseshoers, wagon and harness makers, tent makers, rope splicers and a corps of decorators are kept on hand continually touching up the gilded and brilliantly painted tableau wagons and cages. Two men are employed eight hours a day doing nothing but greasing axles. In the wardrobe department presided over by Mrs. George Hartzell, known as “the little mother of the circus,” nearly 6,000 costumes have to be handled daily and kept in repair. Five dressmakers and six tailors, besides armorers, are in this department. The circus has its own physician who carries with him a complete surgical and medical outfit. There is also a barber shop and, incidentally, no driver or man appearing before the public is allowed to leave the show grounds until he is shaved. This also suggests another rule strictly enforced by the Ringling Brothers’ which absolutely forbids the use of whips by any of their drivers.

It costs $8,000 a day to run the circus and it represents and investment of nearly $4,000,000. The show maintains winter quarters and shops at Baraboo, Wisconsin, and Stoke-on-Trent, England. The firm is now planning an expedition of its own to trap animals in the jungles of India and the wilds of the Egyptian Soudan. In every part of the world its agents are on the alert to secure novelties.

Starting as mere boys with a borrowed tent in which they were given a few juvenile attempts at entertainment, these five brothers have seen their dreams realized and have become master showmen of the world.

The afternoon performance began at 2 o’clock and the big tent was crowded. Opening the bill came the spectacle, “Solomon and the Queen of Sheba.” Nothing so richly costumed or so effectively presented has ever been given here before. The opening pageant, the ballet of dancing girls and the dramatic action were veritable surprises. The spectacle was followed by surprises. The spectacle was followed by the circus performance in which 400 men and women appeared. More novelties that ever before are presented, the Ringlings having brought from Europe the majority of their people.

The final performance will take place Tuesday night at 8 o’clock. The doors open an hour earlier, allowing time to visit the extensive menagerie and also enjoy the operatic concert rendered by the military band of 80 pieces.” To be continued…

Tales from a Scenic Artist and Scholar. Part 837 – The Ringling Bros. Grand Circus Spectacle, Joan of Arc, 1913

Poster for Ringling Bros. grand circus spectacle, Joan of Arc.

In 1913, Thomas G. Moses wrote, “Had to go back to Baraboo to get a new contract for more work. Total $13,695.00.” Today’s equivalent of $13,695.00 in 1913 is $355,183.28.

Later that year, Moses wrote, “When we were setting the Ringling scenery at the Coliseum, the big elephant 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.”

From 1905 until Al Ringling’s passing in in 1916, Thomas G. Moses completed several designs for the Ringling Bros. grand circus spectacles. Al Ringling worked with Moses to design scenery for their grand circus spectacles. The work that Moses mentioned in 1913 was for their Joan of Arc spectacle.

Poster for Ringling Bros. grand circus spectacle Joan of Arc, 1913.

In 1913, newspaper advertisements across the country announced the Ringlings’ “newly added $500,000 spectacle of ‘Joan of Arc” (The Placer Herald, Rocklin, CA, 23 August 1913, page 3). The attraction was described in hundreds of articles, such as the “Pawnee Rock Herald” (Pawnee, Kansas, 17 July 1913, page 3). The “Pawnee Rock Herald” reported, “Ringling Bros. circus is attracting unusual interest this season because of its many new features and the new aspect given the show by the addition of the great spectacle ‘Joan of Arc”…There will be a new parade in the forenoon three miles in length. The menagerie is practically twice as big as it was last year and contains many specimens of strange animals. Audiences will be entertained by 375 of the greatest of Europe’s circus artists…The great feature of the show of course is the newly added spectacle ‘Joan of Arc,’ with a trainload of special scenery, costumes and stage properties and a cast of 1,200 characters. There is a ballet of 300 dancing girls, a chorus of 400 voices and an orchestra of 100 soloists.”

Of the spectacle, the article continued, “This is the greatest dramatic and spectacular production ever presented in America, enacted on a specially built stage bigger than a hundred ordinary theatres. It is made portable so that it can be erected in the main tent each morning. This great entertainment is given as an introductory to the regular circus performance and entails no extra charge of admission. John of Arc tells a masterful story from French history in a thrilling and dramatic way and with the wonderful illusion of tone of special scenery and stage devices. In the great battle scene the audience is held spellbound by the realism of the scene while the enactment of the coronation of Charles VII is beyond question the most sumptuous and inspiring stage picture ever seen.”

Scene from Ringling Bros. Joan of Arc with scenery by Sosman & Landis. Image from the “Santa Ana Register,” 4 Sept 1913, page 8.

An article in the “Great Bend Tribune” announced the arrival of the advance men (Great Bend, Kansas, 5 July 1913, page 1): “Thursday night a huge eighty-foot car pulled into the Santa Fe station with a coat of bright red paint, it announced in blazing letters of gold, ‘Ringling Bros.’ World’s Greatest Shows Advertising Car No. 1’…Ringling Bros. have three advance cars, following one another a week apart. The no. 1 car goes to each town three weeks before the circus is due to appear. It carries twenty-seven men, consisting of twenty billposters and six lithographers, in charge of the veteran car manager, George Goodhart. A steam machine for making paste is carried on the car and every night the porter makes twelve barrels for use the following day. The head lithographer sees the dates are pasted on the lithos and the car manager lays out the work for each man to do. At 5:30 a.m. the men are called, breakfast is served at 6 o’clock, and at 6:30 the local livery teams are at the car ready to take the billposters to the outlying towns and through the city itself to plaster the billboards. The lithographers start with their bundles of lithos (in circus parlance called ‘hods’) to decorate the store windows, and by the time the supper hour arrives everybody knows the big circus is coming and enthusiastic and excited youngsters are busily engaged in planning a touch on ‘daddie’ for the price of a circus ticket. The men who do the country work also carry the show heralds for distribution. The next car is the excursion car. The No. 3 car will do the local work.”

As the Ringing Bros. trains crossed Kansas, the “Topeka Daily News” announced, “While numerous alarm clocks were tinkling under pillows of small boys throughout the city this morning, there arrived in the yards of the Rock Island Railroad four long trains, composed of 86 cars bearing the Ringling Brother’s circus” (“Topeka Daily News, “July 24, 1913),

One-half of an entire train was used for the costumes and scenery of the spectacle of “Joan of Arc.” Of the show, the article continued, “This spectacle, in a series of brilliant pantomime pictures, tells the dramatic story of the Maid of Orleans, the simple peasant girl who led an army to battle and restored Charles VII to the throne of France. The costumes and scenery are the most gorgeous and costly every used in a production of this kind, either under canvas or in a theater” (page 7).

The production was further described in the “Hartford Courant:”

“The play begins when Joan, just 16 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 to the peasant girl is filled with impressiveness and suspense. The second climax of the great spectacle is reached when Joan, dressed in armor, crossed the river of Orleans, and rides at the head if the French army into the gates of the beleaguered city. One of her heralds presents himself at the English camp. Respect to the messenger is sent to defy Talbot, and to declare from the girl that is any harm is done him it shall be retaliation 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 refuse 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. 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 o 1,200 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 n a series of thrilling tableaus by means of tons of scenery and a great battery of electric mechanism” (17 May 1913, page 16).

Joan of Arc advertisement placed in the “Hartford Courant,” 17 May 1913, page 16.

To be continued…

Tales from a Scenic Artist and Scholar. Part 806 – New York Studios and David H. Hunt, 1912

In 1912, Thomas G. Moses wrote, “Sosman left for the south on a vacation. My work doubles. We are doing a lot of work for the New York Studios – not much profit in it for us, as Hunt seems to think we should be satisfied with a small profit. I have made a number of designs for him which I am pleased to do as long as we get the work.”

David H. Hunt pictured in the “Detroit Free Press,” 21 May 1903, page 12.

Hunt was a long-term employee at Sosman & Landis, founder of the theatrical management firm Sosman, Landis & Hunt (est. 1894), and founder of New York Studios (est. 1910). New York Studios was considered an eastern affiliate of Sosman & Landis. 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.” Moses did not get along well with David H. Hunt of New Yorks Studios and periodically mentions the discord in his diary.

By 1910, tensions were high between Moses and Hunt, escalating when Joseph S. Sosman leaves on a 15-week European tour. At the time, both Moses and Hunt were left in charge of the studio, with shops in both Chicago and New York. Hunt was the company secretary and treasure, whereas Moses was responsible for the design, construction and installation of all projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time.” After Sosman returned and assessed the studio’s state of affairs, Moses wrote, “I heard some reports as to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled… I arrived June 25th. Sosman had his doubts as to my coming back.” It was around this time that Hunt officially established New York Studios. Smart move, as it was beginning to appear that Chicago was not big enough for both Moses and Hunt.

The establishment of New York Studios is the beginning to the eventual demise of Sosman & Landis. Sosman steps out of the daily running of the company, leaving it to others, while investing in new business ventures such as New York Studios, managed by friend and past employee Hunt. Keep in mind that Sosman was a scenic artist; Hunt was not. Hunt was also working on many other business endeavors that distracted him from solely focusing on any one company, whether it was Sosman & Landis, Sosman, Landis & Hunt, or New York Studios projects. Based on Moses’ description of Hunt and newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid scheme, hoping for maximum returns with minimal investments; it is all based on the underlings beneath him doing the work.

Over the years, Hunt had remained a thorn in Moses’ side for many reasons, including his poor treatment of good artists; prompting many to leave the studio. The exodus of scenic artists from Sosman & Landis included Moses’ good friend, John H. Young. Young went on to dominate the Broadway scene as a well-known designer.

Hunt had started with Sosman & Landis during the early 1890s, quickly worming his way into both Sosman & Landis’ confidence. Although I have yet to find an official start date for Hunt, I estimate that his initial hiring was connected with many Columbian Exposition projects. By 1894, Hunt convinced Sosman & Landis to establish, the theatrical management firm of Sosman, Landis & Hunt. This was a secondary business venture; a company that leased theaters and founded touring companies in Cincinnati, Indianapolis and Detroit. The firm kept Hunt busy as the primary manager for the endeavor, yet the Sosman & Landis studio staff from Chicago completed much of the necessary work. Moses’ diaries suggest that Hunt did not treat the artistic staff working for Sosman, Landis & Hunt well; scenic artists were swapped and directed to various projects like pawns on a chessboard, ready to be sacrificed at any point. Throughout this period Hunt had remained on the administrative end of the studio, always finding the public spotlight to share his great wisdom on a subject.

By 1910, Hunt also talked Sosman into investing in a new business venture – New York Studios. That year, Moses wrote, “Hunt had started a New York studio in New York City and he expected us to do a great deal of work, as he had Sosman invest a small amount.” New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29^thStreet, New York. Business listings noted that theatrical equipment was the primary product produced by the company. Now there were two scenic studios to consider, and only one Moses. In the 1919 Adelaide A. Hunt was still listed as president of New York Studios, with Edward Morange as Vice-President and David H. Hunt as treasurer, still supplying theatrical goods. Office locations varied from 29^th to 39^th to 95^th Streets. Many scenic artists worked for New York Studios including John H. Young, William F. Hamilton, Victor Higgins, William Smart, Art Rider, and Al Dutheridge to name a few.

1927 New York Studios advertisement in the publication, “Scenic Artist.”

New Yorks Studios was listed as the eastern affiliate of Sosman & Landis, whereas Sosman & Landis were listed at the western offices of New York Studios. Studio stamps on the back of some designs at the University of Minnesota’s Performing Arts scenery collection list the New York Studios “Home Office” at 328 West 39^th St. N.Y. There are other New York Studio designs that link designs to their “Chicago Office.” The Chicago Office for New York Studios was located at 1022 Consumers Building, separate from the main offices of Sosman & Landis on Clinton St.

Sosman & Landis Studio and New York Studios were two very separate entities. Although they shared work and scenic artists, Moses hints that New York Studios always got more out of the relationship than Sosman & Landis, always taking advantage of the situation.

Studio stamp on the back of a design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.

New York Studios design, now part of the Holak Collection in the University of Minnesota Performing Arts Archives.

New York Studios stencil on the back of a folding wood wing purchased by Thalian Hall, Wilmington, NC.

Between 1910 and 1912, Hunt and New York Studios were repeatedly mentioned in several newspaper articles across the country. One particular article concerned an electrical apparatus that enabled one man to handle sixty-five drops. Hunt was part of a group interviewed about the innovation; again his being in the right place at the right time. Hunt was chumming around with Martin Beck (manager of the Orpheum Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New York booking offices). Regardless of Moses’ complaints, Hunt was a genius at social networking and always falling in with the right crowd.

In regard to Hunt keeping company with Beck, Carson and Vincent in 1910, I am including a section of the group interview with a “Lincoln Star” reporter. On Dec. 18, 1910, the “Lincoln Star” quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical appliance which makes it possible for one man to handle sixty-five drops. It operates everything from the stage curtain to the back, gives absolute fire protection and does the work of an average of twenty stagehands. One man can operate it. It looks good to me, and if further tests prove it as successful as the indications are here we will install in all the Orpheum Theatres. ‘The apparatus for handling drops, consisting of ropes and counterweights, has been the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum house. ‘Mr. Bailey has perfected, the first invention, bringing the stage mechanism up to date. It has been a field neglected by inventors.’

By 1911, newspapers reported, “Theatrical men and others in Denver have organized a $500,000 corporation to manufacture a mechanical device, which, it claimed, will reduce the number of stage hands needed in a theatre by three-fourths, at least. The new corporation is called the Bailey Fly Rail Machine Company. It is incorporated under the laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the inventor of the device. He worked on it several years before he announced that it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W. Considine and other vaudeville managers, met in Denver and saw a demonstration of the apparatus. They appeared to be highly pleased with it. The names of A. C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft appear at the prime movers in the matter of incorporation. Mr. Bancroft is an attorney. The device is operated by electricity (“Wilkes-Barre Times Leader,” 18 Feb 1911, page 11). Other than patents, the stage carpenter and company seem to have vanished into thin air, as did Hunt’s association with the endeavor.

What remains significant in terms of theatre history is that Hunt was there, part of the vaudeville managers who gathered to see Bailey’s invention. He was certainly a mover and shaker. I will continue with David Hunt’s story tomorrow.

To be continued…

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, 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 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 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…

Tales from a Scenic Artist and Scholar. Part 487 – The Logistics of Touring Ringling Brothers’ “King Solomon and the Queen of Sheba”

Part 487: The Logistics of Touring Ringling Brothers’ “King Solomon and the Queen of Sheba”

From “The Star Gazette” 21 May 1914, page 3

Twenty-four tents are required this season. The main canvas – the big top is the largest the Ringlings have ever used – is especially constructed, not only to accommodate the circus with its three rings, stages and hippodrome track, but also arranged for the massive spectacle “Solomon and the Queen of Sheba,” which is presented on a stage five the size of that found in the largest theater. The Ringling circus is a perfect city in itself traveling every night, making a new city every day and morning with more system, rapidity and less fuss and noise than any branch of the army. To prepare for its coming exactly 106 representatives, each with a various mission to perform, have visited this city.

From the “Sheboygan Press,” 7 July 1914, page 1

From “The Press and Sun Bulletin,” 21 May 1914, page 5

From “The Des Moines Register,” 19 August 1914, page 15

It costs $8,000 a day to run the circus and it represents and investment of nearly $4,000,00. The show maintains winter quarters and shops at Baraboo, Wisconsin, and Stoke-on-Trent, England. The firm is now planning an expedition of its own to trap animals in the jungles of India and the wilds of the Egyptian Soudan. In every part of the world its agents are on the alert to secure novelties.

From “St Louis Star and Times,” 20 April 1914, page 7

From “The Pittsburgh Daily Post,” 26 April 1914, page 14

From “The Dayton Herald,” 25 April 1914, page 9

To be continued…