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 20th 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.
Postcard of the Al Ringling TheatreThe Al Ringling Theatre at night
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 TheatreThe Al Ringling 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.
Part 550: The Phobias of Dry Pigment and Aniline Dye – Second of Three Parts
Dye drop at the Theatre Museum in Mt. Pleasant, Iowa. This museum features many of the design, drops, and scenic art tools of Jesse Cox.Detail of dye drop at the Theatre Museum in Mt. Pleasant, Iowa.Detail of dye drop at the Theatre Museum in Mt. Pleasant, Iowa.
During the first decade of the twentieth century, much traveling scenery was created with aniline dye, allowing drops to be easily folded and packed in a trunk. This process ensured that the painted composition would not crack or dust off during transit and repeated use.
Folded dye drop collection from the 1920s. This scenery is still used by the Scottish Rite in Madison, Wisconsin.
Dye drops were lighter and far easier to handle, perfect for tent shows, midway amusements, circuses, and vaudeville troupes. The vibrant colors of aniline dye also worked beautifully for certain stage effects, translucencies and stained glass. All you needed to mix it with gum arabic, or a similar binder, and it provided maximum adhesion and minimal bleeding of color. However, just like any chemistry project, you had to get the binder/water/dye ratios correct. For inking in charcoal lines, aniline dye was used with a little bit of shellac. Aniline dye was a wonderful and versatile “go-to” product for painting and staining.
Dye drop currently at the University of Minnesota – Twin Cities. This backdrop was produced with aniline dye and rented by the Eclipse Rental Dept. Inc of Chicago.Detail of dye drop rented by the Eclipse Rental Dept. Inc of Chicago, now property of the University of Minnesota – Twin Cities.Detail of dye drop rented by the Eclipse Rental Dept. Inc of Chicago, now property of the University of Minnesota – Twin Cities.
Fast-forward eighty years to the 1980s. Aniline dye was still used in some paint shops, and for more than just translucent effects. The dye was used to brightened paint colors, especially when some pre-mix batches began appearing lackluster and dull. A good dollop of aniline dye dumped into a five-gallon bucket of paint made most drab colors bright and beautiful. But this colorful additive did not necessarily make everyone grab a pair of gloves to prevent the paint from staining their hands, or threatening their health. This was not an anomaly, as the handling of aniline dye was different then; previous generations of scenic artists broke up clumps of aniline dye with their bare hands, not fully understanding the health hazards. We were just starting to acknowledge some dangers in our industry. I doubt that any of these scenic artists were trying to be irresponsible or dangerous to others; they simply didn’t have all of the facts to properly handle the product.
As a parallel topic, there were prolonged debates about cutting Styrofoam with a hot wire. Some of my colleagues insisted it was perfectly safe, while others were adamant that it was an incredibly dangerous process. I then also think about the debates concerning the dangers of smoking and second-hand smoke – dangerous or not? We now know the science. It takes time to identify health concerns and disseminate the information to the general public. It takes time to establish and implement proper safeguards. In many cases, something has to happen for a safety warning to be included on a label – or a warning label to go on a product at all. Whether it is a problem documented during the testing of animals, or problems identified among a group of users, a consensus is reached to prior to adding a warning. For scenic artists there can be a long list of health concerns. Some are extremely hard to diagnose if the majority of users also smoke and are exposed to other airborne toxins.
So lets consider how an industry implements changes in handling procedures or identifies alternative products. Is it simply easier for us to distance ourselves from a controversial product that has been used for decades? How does that compare with trying to raise awareness about how to safely handle this product? These discussions become complicated if some belittle those addressing health concerns. Regardless, we now fully understand the necessary for safety precautions that must be in place when handling aniline dye. Has this information arrived too late? Why are some toxic paints acceptable and others not? Aniline dye is still readily available and actively sought out by woodworkers, leatherworkers and other artisans, just not scenic artists. Why?
It is understandable that we constantly seek safer products, especially in lieu of altering our handling methods for a familiar product. Are the new products really safer, or are we once unaware of the hidden dangers once again?
It takes decades of use and generations of artists to identify certain problems or health hazards associated with a particular product. New products simply can’t enter the market place with every danger being known. One example is the popular alternative to aniline dye – thinned supersaturated paint. This switch seems completely reasonable, and far safer. But what if we are unfamiliar with all of the ingredients and take very little care in the handling of this seemingly safe water-based product?
As an artists I read the safety data sheets (SDS). However, it is difficult to read it more than once, beyond that first time prior to handling a new product. It is difficult to continue examining information on updated SDS prior to every use, especially after our initial investigation; certainly when we have limited time and/or are freelancing where this research occurs on our own dime. Regardless, we must remember that many paint formulas change. Cheaper pigments are discovered or other ingredients are added to increase overall flexibility and shelf life. Changes also occur to a formula based on increasing the profit margin. This practice is not unusual and occurs in many other manufacturing industries. However, as scenic artists, we must look beyond the subtle color shifts in new batches of paint.
We must read, and re-read, every SDS each time we handle the product, even if we have been using this same product for years. We must also remember that even when paint formulas remain consistent, acceptable exposure levels could change; new information may come to light. When was the last time that you looked at an SDS for a product that you have used for over a decade? Look one up online and read it again.
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 3Advertisement 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.
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.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.
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, WyomingDetail 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.
Part 487: The Logistics of Touring Ringling Brothers’ “King Solomon and the Queen of Sheba”
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). Here is a section from the article that I found intriguing:
“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.
From “The Star Gazette” 21 May 1914, page 3From “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 1From the “Sheboygan Press,” 7 July 1914, page 1From the “Sheboygan Press,” 7 July 1914, page 1
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.
From “The Press and Sun Bulletin,” 21 May 1914, page 5From “The Des Moines Register,” 19 August 1914, page 15
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 $4,000,00. 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.
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.
From “St Louis Star and Times,” 20 April 1914, page 7From “The Pittsburgh Daily Post,” 26 April 1914, page 14From “The Dayton Herald,” 25 April 1914, page 9
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.”
Part 486: Ringling Brothers’ “King Solomon and the Queen of Sheba”
1914 poster for the Ringling Brothers’ spectacle “King Solomon and the Queen of Sheba”1914 poster for the Ringling Brothers’ spectacle “King Solomon and the Queen of Sheba”
I now understand why people ran away to join the circus during the early twentieth century. If I were born a century ago, the circus would have been too tempting to resist as it passed through my hometown; it offered escape from a mundane existence. 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 Cleopatara 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).
That same year, Thomas G. Moses was still designing scenery for the Ringling Brothers’ Grand Spectacular productions, also advertised as “great wordless plays” (The Evening News, Wilkes-Barre, Pennsylvania, 16 May 1914, page 9). Moses designed and led the scenery production at the Sosman & Landis studios. The completed settings were then delivered to Baraboo, Wisconsin, as the production was prepared at the circus’ winter quarters.
In 1914, Moses wrote, “Jan. 6th, 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.” Of the final production, Moses observed, “Ringlings’ work came out very good. Everyone was pleased and that is saying a good deal.” Moses was referring to the 1914 Ringling production “Solomon and the Queen of Sheba” that toured throughout the United States.
Of the circus with Moses’ scenery, 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, balletmaster of the Metorpolitan 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” (Elmira, NY, 21 May 1914, page 3). 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).
Advertisement for the Ringling Brothers’ “King Solomon” spectacle, from “The Reading Times,” 16 May 1914, page 9,Advertisement for the “King of Solomon and Queen of Sheba,” from “The Chicago Tribune,” 21 April 1914, page 16.
When the circus arrived in Elmira, New York, 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.”
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.
Unloading the Red Wagons for the Ringling Brothers’ Circus from the “Sheboygen Press,” 7 July 1914, page 1
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.
“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.” The Star Gazette continued, “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.” 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!
The Star Gazette concluded, “Despite the enormous cost of the spectacle, no expense has been spared to make the arena program the most thrilling and novel entertainment that has ever been presented. In the three big rings and two stages more than 400 performers will appear in a series of new and sensational, riding acrobatic and aerial acts, nearly all of which have never before been witnessed in America. Such famous foreign performers as Charles Augustus Clark, England’s foremost bareback rider; the Mirano brothers, wonderful perch artists; the Balkani troupe of the Far East equestrians; the famous four Lloyds, daring Indian riders; Mijares, the Mexican wire wizard, and the world famous Clarkonians, who turn triple somersaults in mid-air and are a few of the host of performers who will furnish the spectators with an abundance of thrills.”
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.
A Russian actress played the Queen of Sheba in the Ringling Brothers’ spectacle “King Solomon and the Queen of Sheba,” from “The Indianapolis Star,” 4 May 1914 page 3
Who wouldn’t get caught up in this excitement and plan their escape from the doldrums of everyday life? But this was just the 1914 show. Another would be planned for 1915. By the end of 1914 Moses wrote, “Took a trip to Rockford to see Ringling’s about more work for the next season.”
Part 485: The Ringling Brothers’ Winter Quarters and Thomas G. Moses
From 1905 until Al Ringling’s passing in in 1916, Thomas G. Moses completed several designs for circus spectacles. The first mention of work for one of Al Ringling’s spectacles was in 1905. Fast forward to 1912 when Moses mentions 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.”
Illustration of the winter quarters for the Ringling Bros. Circus in Baraboo, Wisconsin. Image from “Tents, Tigers, and the Ringling Brothers”The winter quarters for the Ringling Bros. Circus along the shores of the Baraboo river. Image from Circus World Museum website: http://www.circusworldbaraboo.org/
Both equipment and animals were cared from November until April of each year during the 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
Wagon workers at Baraboo, Wisconsin. Image from Circus World Museum website: http://www.circusworldbaraboo.org/Circus wagons on display in Baraboo, Wisconsin.
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 not hibernation, it was a time for preparation, training and hard labor. As there was no constant moving from town to town, time was 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.
Working on elephant costumes. Image from Circus World Museum website: http://www.circusworldbaraboo.org/Detail of photo showing design work and costume construction at winter quarters in Baraboo. Image from Circus World Museum website: http://www.circusworldbaraboo.org/Detail of photo showing design work and costume construction at winter quarters in Baraboo. Image from Circus World Museum website: http://www.circusworldbaraboo.org/
In “Tents, Tigers, and the Ringling Brothers,” the author comments that the Ringling family functioned as a well-oiled machine. Apps wrote, “Different from some families, the 7 Ringling brothers got along very well with each other. They knew that if their circus was to succeed, they must not squabble” (page 55-56).
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/
Entrance to the Circus World Museum in Baraboo, Wisconsin.
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.
Part 484: Thomas G. Moses’ and the Al Ringling Theatre
In 1883, the Ringlings called their show “Ringling Brothers Grand Carnival of Fun.” Five of the seven brothers were business partners by this point – Albert (1852–1916), Otto (1858–1911), Alfred T. (1862–1919), Charles (1863–1926), and John (1866–1936). Their two other brothers Augstus “Gus” (1854–1907) and Henry (1869–1918), later joined and worked as employees.
It was the combined efforts of the brothers that helped secure enough income to purchase their first circus tent. The first Ringling tent measured 45’ wide by 90’ long, with a seating capacity for almost 600 spectators. Later tents would measure 440 feet long by 190 feet wide, seating more than 12,000 people. The largest tents took 30 employees with horses and elephants to raise the center pole. Their show included acrobatic acts mixed with comedy acts and musical selections. The Ringling brothers played instruments in the band, performed in the show, and led several of the acrobatic acts.
The death of their mentor Yankee Robinson became a turning point in the trajectory of the Ringling Brother’s circus, they all needed to assume the supervisory role of practical tasks that Robinson had led in the beginning. At first, the circus traveled from town to town by wagon, but as the size increased they traveled by rail. Over time their circuses continued to increase in size and scope. They hired new acrobatic acts, clowns, dancers and animal trainers.
Al was the ringmaster and in charge of circus operations and hiring; this is why he was the one who met with Thomas G. Moses about the scenery. Otto was the treasurer and referred to as the “King,” since he controlled the finances. Alf T. was in charge of marketing and working with newspapers for advertising. He wrote “Life Story of the Ringling Brothers” in 1900. Charles was in charge of dozens of men who put up advertising, such as billboards, posters, and other signage. He was the most musically inclined of all the brothers and worked behind the scenes, becoming a favorite with many of the performers. John planned the logistics of the tours, establishing the route that the circus would travel each year. He worked with the railroads and hired the locomotives that would pull the Ringling railway cars. Gus supervised Advertising Railcar No. 1 and the twenty-seven men who were responsible for pasting up circus advertisements. Henry was the superintendent at the main entrance of the big top, supervising the ticket takers.
By 1890, the circus required 18 railcars. The troupe’s touring menagerie was quite large, including 107 horses and ponies, 3 elephants, 3 camels, 3 lions, monkeys, a kangaroo, a water buffalo, an emu, a zebu, a zebra, a hyena, an elk, an anteater, a hippopotamus, snakes, and a variety of birds. When they stopped at a town to set up, their location was referred to as Ringlingville. Their traveling city included a barbershop, general store, dining hall, post office, and blacksmith shop.
Twenty-five years later, the Ringling Brothers circus traveled on 85 railcars that moved in 4 sections, with each section being pulled by a steam locomotive. In 1915, the circus included 17 tents that covered 14 acres of land. The tents included the big top for a main performance, an animal menagerie, the side show, three horse tents, the pony tent, three dining tents, a cook tent, two dressing tents, a ballet tent, and wardrobe tent and others for candy and souvenir stands.
Weeks before the circus would arrive in any town, advance men were sent ahead to secure the necessary supplies during their stay. Moses did the same thing as carpenters were sent ahead to prepare the areas where he would be working and transport all the necessary supplies and tools.
The first Ringling train to arrive in any town was the “Flying Squadron” who was met by the 24-hour man. The Fling Squadron carried the kitchen and dining tents, chef, cooks, equipment and helpers. This included some 20 circus cars that were set on a side track for unloading. The Ringling circus employees drank 185 quarts of coffee and 65 quarts of tea daily.
Thomas G. Moses worked directly for Al Ringling, the eldest of the brothers who was in charge of hiring. Al was in also in charge of supervising the circus performers, as well as contracting scenery and other specialty items for the shows. For many years, Al was the ringmaster, announcing the acts twice daily. Al’s home basd remained in Baraboo, where he would later finance the building of the Al Ringling Theatre, another project that Moses would work on.
The Al Ringling Theatre in Baraboo, Wisconsin.
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.
The Al Ringling Theatre in Baraboo, WisconsinSosman & Landis provided the scenery for the Al Ringling Theatre in 1915. Thomas G. Moses worked with Al Ringling to provide the painted scenery.Fire curtain at the Al Ringling Theatre in Baraboo, Wisconsin.
The Al 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.
1915 Lighting system for the Al Ringling Theatre in Baraboo, Wisconsin
When asked about the approximate cost of the enterprise, Al Ringling refused to give a price. Instead, he responded, “My object from start to finish was to give the people as fine a playhouse for the size of it as there was anywhere, and the architects and finishers and many theatrical men have said that I have accomplished my undertaking. And if it is, then I am satisfied, for I have had much pleasure in all the years that I have been in the business, and although at times it seemed hard, it was a pleasure for me to make the money, and now if I have done something with a part of it that will bring pleasure to my friends and neighbors, I have accomplished something.”
Theatre seating at the Al Ringling Theatre in Baraboo, Wisconsin
Creating scenery for circus spectacles was just some of the many projects that kept Thomas G. Moses busy at Sosman & Landis. In yesterday’s post, I examined the 1905 Ringling Brothers’ spectacle, “The Field of the Cloth of Gold” by Sosman and Landis. Moses created the designs for Ringling Brothers’ production about King Henry VIII of England. Their grand circus spectaculars were also known as a “specs.”
I grew up in the Midwest, and was well aware of both the Ringling Brothers’ Circus and their summer home in Baraboo, Wisconsin. We even ventured to Milwaukee, Wisconsin, to see the great circus parade with other circus enthusiasts. The Milwaukee Circus Parade was an event where dozens of ornate circus wagons were paraded through the streets, including one massive wagon pulled by a forty-horse hitch team. It was easy to understand the excitement of those witnessing the arrival of the circus during the early twentieth century.
I also encountered the history of the Ringling Brothers circus while evaluating the Scottish Rite scenery collection in Madison, Wisconsin. On my first day off, I visited the Wisconsin historical society and discovered a book about the Ringling Brothers -“Tents, Tigers and the Ringling Brothers” (Wisconsin Historical Society Press, 2007). It written by Jerry Apps and contained obscure tidbits of information concerning the logistics of the massive touring show. Apps provided a conversational record about this famous circus family and their early adventures; I was intrigued with the family. The Ringling brothers were just a few of the many famous personalities who Moses worked with during the early twentieth century.
So let’s travel back to 1869 when Thomas G. Moses was thirteen years old and living in Sterling, Illinois. That same year there were seven future circus stars living in McGregor, Iowa. Their father was August Frederick Rüngeling who owned a harness shop. The oldest son was Al Ringling (16), followed by Gus (15), Otto (11), Alf (6), Charles (4), John (3) and Henry (almost 1 year old). The two eldest sons helped their father in his harness-making shop. As soon as each child reached the age of ten, they began helping out in the shop and entered the family business. At the same time, Moses was also working for his father’s business – a tannery.
The Ringling family
As many Midwestern children, the Ringling brothers first encountered circuses transported by riverboats. Circuses followed rivers, stopping by towns on major waterways. It was a riverboat circus that inspired the Ringling boys to set up their first circus. The event was to be a circus performed by children for other child. The initial price of admission being 10 straight pins, and was later increased to a penny. Their children’s circus shows took place in an old neighborhood barn where the brothers created a series of exhibits. One was a caged bullfrog with the sign, “From Timbuctoo. Captured at great risk from the depths of a far-away swamp from which no other frog collector ever emerged alive.”
In the early years, Al Ringling explored his acrobatic abilities. By the age of 20 he was a tightrope walker. When he was not working in the wagon and blacksmith shop in Brodhead, Wisconsin, he would string a rope between two buildings and perform his act for local passersby. Juggling was also added into this early routine. By 1879, Al gained additional circus experience when he went to work at Parson and Roy’s Great Palace Show. His brother John also began working with a circus at this time.
It was Al who came up with the idea of starting a performance troupe, and during the fall of 1882 proposed the idea of a hall show. The plan was to perform their variety acts in performance halls until they had raised enough money to purchase a circus tent. By this time Charles Ringling had become a skilled violinist and Alf played several other instruments that included the trumpet and tuba.
The Ringling’s first show was in Mazomanie, Wisconsin, about 25 miles away from Madison. There, Edward Kimball and three other actors from Baraboo joined the endeavor to form “the Ringling Brothers Classic and Comic Concert Company.” The price of admission was fifty cents for adults and twenty-five cents for children. Their first show opened on November 27, 1882. Unfortunately, it resulted in a loss of $12.90 – today’s equivalent of almost $320.00. However, they continued to perform their acts across Wisconsin, putting on a show every night. Their standard hall performance included an introductory opening followed by a coronet solo, short play, violin duet, vocal duet, and a longer play. One of the troupe’s longer performances was titled “A Cold Bath, or as Failure a Great Success.”
From 1882-1883, the Ringling Brothers put on 107 shows that winter. They performed six days a week, with each show opening in a different town. Al Ringling had previously worked for the “Yankee Robinson Circus,” and managed to convince the owner to help them start a circus; Robinson was 66 years old and became one of the featured acts.
The Ringling Brothers
At this same time, Moses was also branching out on his own. He had traveled extensively with Joseph S. Sosman from 1881 to 1882, with the firm provided scenery for seventy-four theaters all across the country. It was in 1882 that Moses would leave Sosman & Landis to partner with Lem Graham and form their own scene painting studio. Graham later founded the Kansas City Scenic Co.
For the Ringlings, Brother Otto would soon join the team and now the five Ringling Brothers would form the Ringling Brothers circus during 1883-1884. Al, Alf, Charles, John and Otto combined their efforts to secure enough income to purchase their first tent. That same year, Moses would board with the widow of Dan Castello, the famous circus clown, in Racine, Wisconsin, while he was working in the area.
