Spec-ology of the Circus, Part One

The word "Spec-ology" was coined by A. Morton Smith as the title of an article published in the July 31, 1943 Billboard.

The Spectacle as a pantomime, pageant, tournament or grand entry is as old as the circus in America. Next to circus parades, which are as extinct as the proverbial dodo, the grand entry or spectacle presented at the beginning of or during a circus performance is the most glamorous, eye-filling and impressive feature of the program.

From the time of Rickett's Circus in 1793, which is credited with being the first circus in America, all circuses have included in their performances a grand entry, a pantomime, a tournament, or some kind of a spectacular feature and the abbreviation "Spec" has become the common name for any pageant or spectacle presented in connection with a circus performance.

When George Washington was President, Philadelphia was the capital and Rickett's Circus was located there. Washington often attended this circus and was no doubt thrilled by the equestrian acts, as horseback riding was his favorite sport. The 1793 program included The Grand Historical Pantomime, which satirized the whiskey rebellion in western Pennsylvania. This was a spec that probably amused the "Father of our Country."

Over forty circuses from 1800 to 1875 presenting a spectacle of some kind have been identified. Some of them were:

In 1799 Ricketts presented Harlen's Pantomime, or The Ship Wreck.
Lailson Circus followed Ricketts in Philadelphia in 1797 and presented La Belle Dorothe or Maternal Affection.
The West & Co. Circus in 1817 presented Flora's Birthday.
In 1845 Rockwell & Stone presented The Holiday Sports of Spain.
In 1847 Sands & Nathan's spec was Jack and the Bean Stock.
Spalding & Rogers' spec in 1849 was George Washington or Old Put and Anthony Wayne.
The Robinson & Elder Circus pageant in 1851 was called Cinderella. It lasted one hour.
In 1852 Spalding and Rogers' Roman Amphitheatre presented Mother Goose and Her Golden Egg. D. W. Stone played the part of Squire Bugle and Bill Lake was Beadle Graball. There were nine additional principal cast members.

In 1853 Seth B. Howes brought Franconi's Hippodrome to America and presented Scipo's Triumphal Return to Rome, after the Conquest of Carthage. The processional featured a band chariot drawn by a ten horse hitch, an equestrian corps of mounted men and women in costume, elephants, camels, deer, ponies, ostriches in a grand march on the hippodrome track. Howes later presented The Field of the Cloth of Gold as its opening number.

In 1857 Sands, Nathans & Co. presented Mazeppa or the Wild Horse of Tartary.
L. B. Lent's 1860 spec was titled Jack the Giant Mller.
Around 1860 Gardner & Hemmings Amphitheatre offered a grand pantomime called Jack the Giant Killer and Don Juan.
Dan Rice's Circus presented Ward's Mission to China in 1861.
The 1863 Dan Rice Spec was titled The Raid on Union Picket Line.
In 1864 Robinson & Howes Circus presented The Field of the Cloth of Gold.
Thayer & Noyes' Great Equestrian Troupe presented Jack, the Giant Killer in 1865.
Maginley's Royal Circus presented Putman the Iron Son of '72. in 1874.
The John H. Murray spec in 1874 was Dick Turpin's Ride to York.
The John Murray Circus featured the Battle of Bosworth Field in 1876.
In 1875 the Barnum spec was titled Blue Beard. In 1876 it was called Oriental Cavalcade.
The Great London show spec in 1877 was called Mardi Gras.
In 1879 Pullman & Co.'s spec was called Humpty Dumpty.
In 1880 the Pullman & Hamilton spec was titled Humpty Dumpty.

Early American circuses were small one-ring shows and the performances consisted mainly of equestrian acts, trick and fancy riding and drill formations. Acrobats, wire walkers and talking and singing clowns soon began to appear on the program. But there was always some kind of a pantomime, tournament, or dramatic feature that was a forerunner of the spec Then as in the mid 1940s and 1950s the so-called spec became just a walk-a-round of the performers and animals.

As circuses grew larger with their horse and wagon caravans, the transportation of necessary baggage and equipment was trouble enough without adding to it by carrying scenery for pantomimes, so they were replaced by the Grand Entry in which all the performers and lead animals rode in and around the ring as an introduction to the performance.

The Grand Entry developed into the Tournament, which larger circuses of later years presented and augmented with musical and dramatic episodes. The tournament is a processional type of spec presented on the hippodrome track and often extends into the circus rings where tableaux and dramatic scenes are enacted. Most of the specs presented by circuses since 1920 have been of this type.

Themes for spectacles have been taken from the Bible, fairy tales, mythology, history and other sources. From 1850 to 1880 the following titles were used for specs presented by leading circuses; Jack, the Giant Killer, Cinderella, St. George and the Dragon, Cinderella, Putnam, or Days of '76, Hun, the Hunter, The Miser of Bagdad, Mazeppa, Congress of Nations, and Custer's Last Charge.

Michael Means provided these spec descriptions, "The basic message of these processions is, of course, the marvelous nature of this particular circus and its performance - their ability to translate us out of our quotidian lives into a world of imagination, danger, and beauty. But on top of that seductive premise and promise there were often thematic displays. Commonly, the 'official' purpose of this procession is to stir feelings of patriotism, childlike wonder, religious awe, or historical heroism in other words, to lead us into experiencing possibilities that transcend what we live and know.

"In the early twentieth century, big circus spectacles were considerably more than that. They incorporated traditional display and theme into 20 to 30 miniature plays in dumb-show (pantomime) that blended theatrical elements of plot, acting, sets, costumes, and music into an almost mind-numbing experience of the story . . . to produce that sense, every element of the circus was employed. Roustabouts, animal grooms, and cook house crews swelled the rank of the ballet dancers, equestrians and equestriennes, strong men, clowns, and all the other performers to create a story in sensory overload.

"To accommodate all these performers and their functions, a large section of the backside reserve seats was blocked off by a backdrop (or stage) appropriate to the subject. The opening procession led the performers from their entrance, around the hippodrome track, to whatever places were assigned them before the backdrop or in the three performing rings."

One of the Ringling brothers in a letter detailed the size of the stage, "Regarding the height of scenery will say it can be 16 feet as we will use a 13 foot side wall and behind the scenery, we can use a 4 foot side pole which will work all right. The full length of scenery make 150 feet, but arranged so we can use it shorter if necessary, where our show grounds make it necessary to leave out a section of the big canvas. The wagon will hold sections 18 feet long."

The Golden Age of the massive circus spectaculars began with the 1881 Adam Forepaugh show presenting a larger and more spectacular pageant than had ever before been seen by American circus goers. It was titled Lalla Rookh and the Departure from Delhi. It featured Louise Montague, who was paid $75 a week.

From 1887 to 1891 Forepaugh's spec was titled Custer's Last Battle.

In 1892 J. T. McCaddon, manager of the Forepaugh show, hired John Rettig, a Cincinnati, Ohio artist, to produce the historical Bible spectacle the Fall of Ninevah. It was presented in five tableaus.

The Forepaugh show presented The American Revolution and the Scenes and Battles of 1776 in 1893. William Gillette directed this mammoth production. Scene one depicted Paul Revere's Ride and the alarm that started the war. Scene two was in Concord and depicted "the shot that was heard around the world." Scene three was at Bunker Hill. The British charge and they are repulsed, they charged again and a third time when the American's ammunition was gone. After desperate fighting it was a masterly retreat for the Colonists. The fourth scene was the signing of the declaration of independence. Scene five took place at Bowling Green in New York City. Scene six depicted Washington crossing the Delaware and the struggle with ice, the battle of Monmouth with the arrival of Washington was depicted in scene seven. Scene eight showed the surrender of Lord Cornwallace and the British army at Yorktown. The final scene was the inauguration of General Washington as the first president. There were nineteen principal characters; fifteen Colonial heroes; thirteen British officers; seven signers of the Declaration of Independence. This production required eleven property men, thirteen scenery men and three calcium light operators according to show publicity. However, Dick Conover stated, "Although programmed for nine scenes, all of the action took place in the center arena, required no elaborate scenery, comparatively few supernumeraries, and no ballet girls. In general, it as much less pretentious than the Nineveh spec of 1892."

James A. Bailey hired Imre Kiralfy, a world-renowned showman, in 1889 to stage a massive production using pantomimic performances with special music, a corps of ballet girls and the use a large numbers of animals. The spec in 1890 was titled Nero or the Destruction of Rome. It was first presented during the 1889-1890 London winter season after which it toured America with Barnum and Bailey in 1890 and 1891.

Imre Kiralfy (1845-1919) and his brother Bolossy (1847-1932) were born in Budapest, Hungry of Jewish parents. Imre soon gained an international reputation as one of the most prolific impresarios, organizers and producers of numerous imperial spectacles most, though not all, were held in London.

The English Strand magazine in 1909 contained "My Reminiscences" by Kiralfy. There he said, "After my initial success in Brussels came a calm. I found no chance in Europe to repeat my triumph, and so resolved to immigrate to America. One day in 1869, 1 landed in New York. I saw instantly that the great popular want in America was spectacle, spectacle that was more or less familiar to Europeans."

On February 1877 the Kiralfy brothers opened Around the World in 80 Days at Niblo's Garden Theater in New York. Near the end of the 1880s Imre Kiralfy was pro ducing much larger historical spectacles.

Kiralfy continued, "Those were the days of P. T. Barnum, the famous American showman. Although he was an old man, I suppose he thought I was beginning to invade his own particular domain. At all events, he saw "Nero." And offered me a great sum to be allowed to produce it in connection with his own show in London. I was just then starting for London, so he commissioned me to examine Olympia and tell him whether or not it would be suitable for "Nero." I told him it would, so he had "Nero," rewritten and produced on a smaller scale but Londoners saw a more artistic scale. The Barnum engagement in London opened on November 11 [1889] at Olympia, and lasted until February 13."

Angelo Venanzi composed special music. Wilhelm of London designed costumes. Messrs. Robecchi, Butell and Valton in Paris painted the scenery. Beniamino Lombardi directed the choruses.

Advertisements described it as "A Titanic, Imperial, Historical Spectacle of Colossal Dramatic Realism Gladiatorial Combats and Olympian Displays. Indisputably, Immeasurably, Over-whelmingly the Most Majestic, Entrancing, and Surpassingly Splendid and Realistic Spectacle of Any Age."

Almost the full length of the backside of the tent was used for the stage and scenery. The panoramic background represented the city of Rome, with towering, triumphal arches. Several hundred performers participated, including 200 dancers, singers, and ballet girls, who traveled with the show and did nothing else except to perform in the spec.

"Nero" used singing as well as pantomime. The chorus included seventeen sopranos, seven contraltos, seventeen tenors, five baritones and eight basses. The corps de ballet was 118 in number.

The first tableau was titled "Outside the Gates of Ancient Rome."
The second tableau was "An Imperial Fete Day in Rome."

Then began Nero's Triumphal Precession, that included exciting elephant races, two-horse chariot races, four horse chariot races contest between the winners in two previous races, thrilling two-horse standing race and gladiatorial contests.

The third tableau was The Circus Maximus.
The fourth tableau was the exterior of Nero's palace by moonlight.
The fifth tableau was the interior of Nero's palace. Next came festal dances in the light of burning Rome, the slaughter of Christian's martyrs and the death of Nero and the triumph of Galba.

The 1890 Barnum & Bailey season opened April 12 under canvas at 110th Street and Fifth Avenue in New York City. Dick Conover in his book Give 'Em a John Robinson said "in 1890 Kiralfy's 'Nero' grossed $1,255,000 the first time their season take passed the million-dollar mark since their last full tour with Jumbo in 1884. While the initial investment and payroll for the ballet were much greater for this production than for the maintenance of a simple animal, and while most any 'harem foreman' would readily agree that no one elephant could possibly be half the grief of a hundred unattached females, these were factors that had to be endured since a new feature was sorely needed to restore the gross.

"The staging and daily transportation of this Kiralfy spectacle was a significant milestone in the annals of outdoor show business, To recreate the original, as first produced by Nero, himself, in 64 A. D., required four changes of scenery with backdrops and sets spread out over the entire area normally assigned to the back-side reserves of a large six-pole top. During some of the action, the hippodrome track doubled as the Circus of Old Rome. There were 55 baggage wagons on the 60-car show that year, a disproportionately high number, because so many were required to carry the scenery, shifting machinery, wardrobe and props for this production, In order to allow all possible time for erection and teardown, the spectacle closed the matinee and opened the night show, being curtained off during the main circus performance to obscure the correlative production of 'The Destruction of Pompeii' - so termed because the behind the scenes activity was almost equivalent to that which attended the latter day Wild West Concert or after-show -which in circus lingo so aptly describes the pandemonium that reins in the tent where the crews are tearing out the seats and quarter poles while a quickie exhibition of rope spinners, knife throwing, and whip manipulation is going on in front of those who have paid their extra quarter to, remain and see it all while occupying the grandstand chairs."

In 1891 the Barnum show presented a tournament listed in the printed program as "Hippodrome Wild Beast and Equestrian Proces sion and Arabian Nights Pageant," as an opening spec. Nero was repeated a second year at the end of the performance.

Barnum & Bailey in 1892 presented another gigantic scenic and dramatic Kiralfy spectacle, Columbus and the Discovery of America. It was repeated in 1893. It was described as "The Grandest and Most Colossal Spectacle of all time, depicting with historical truth and accuracy, with the life, trials, discoveries and triumphs of Christopher Columbus." It was presented on the largest stage ever constructed.

Angelo Venanzi composed special music and Alfred Edel designed historical costumes. Ettore Coppini was stage and choreographic director. The chorus consisted of seventeen women and sixteen men. The ballet included twenty-eight women and twenty-four men.

Scene one took place in the Alhambra palace, with the grand victory procession and introduced the grand chorus. Scene two was in the ancient Port of Palos on August 3, 1492 with Columbus preparing for his voyage and receiving the blessing of the priest and hoisting the flag on the Santa Maria. The farewells to Columbus by the grand chorus and the departures of the ships.

The third scene was the first voyage of discovery with a storm at sea. Floating trees and driftwood were discovered. Columbus discovers the moving light on shore. And finally Columbus and the crew sing chorus of thanks.

Scene four was the first landing in the new world with the fight and terror of Indians. He exchanged presents with the Indians.

Scene five was in the city of Barcelona in 1493. The grand chorus sang a greeting. The end came with Columbus' triumphal entry into Barcelona and the presentation of Columbus at the court of Ferdinand and Isabella. Columbus offered the proof of the existence of the New World, followed by the exit of the procession.

In 1894 the spec was called the Grand Pageant of Nations, a procession representing a number of countries.

In 1895 in a complete change the Barnum & Bailey spec was replaced by a water show featuring champion high divers, a champion lady swimmer from Australia and log rollers. These were followed by a grotesque water pantomime entitled A Wedding Picnic, of Tramps Abroad. The unique performance concluded with huge prismatic fountains, illuminated by a fine display of fireworks.

In 1896 the Barnum spec was Oriental India.

Columbus and the Discovery of America was repeated in 1897.

When the Greatest Show on Earth opened at the Olympia in London, England on December 27, 1897 the circus featured The Mahdi or For the Victoria Cross. The pageant as produced by Bennett Burleigh. Scene one took place in Eastern Sudan on the banks of the Upper Nile. Scene two transpired near Haundoub in the Sudan. Scene three revealed a fortified native African village on the eastern banks of the Nile.

The cast included Scouts, Hussars, 10th Bengal Lancers, Marines, Gorkhas, Black Watch Highlanders, Artillery, Punjab Madios, Bombay and Egyptian Infantry, Sudanese, British Foot Guards, Blue jackets, with cannon and machine guns, Egyptian Cavalry, Black Mahdist Rifleman and Mahdist Camel Patrol.

The Barnum show spec in 1899 was Chinese Gordon's Advance, Capture in the Sudan.

While the Barnum show was playing in France in 1902 the show presented Le Voyage de Balkis, produced Bolossy Kiralfy, brother of Imre. This was actually a King Solomon theme (the Queen of Sheba was named Balkis). In anticipation of presenting the same spec in America in 1903 the title was changed after the long burnout of Solomon on the John Robinson Circus. In 1903 the Barnum spectacle was titled A Tribute of Balkis.

In 1904 and 1905 The Durbar at Delhi was the Barnum & Bailey spec. Bolossy Kiralfy produced it too.

Peace, America's Immortal Triumph was the Barnum & Bailey spec in 1906 and 1907. It was again a Bolossy Kiralfy production. The first part took place in Manchuria following the armistice between Russian and Japan. Theodore Roosevelt, President of the United States stepped in and after many days of negotiation both sides agreed upon an honorable peace at Portsmouth, New Hampshire.

The second part was a Pageant of Nations. There was unit of the U. S. Cavalry, a float with peace loving Columbia impersonated by a young American girl; a detachment of the U. S. infantry, Russian Cossacks, Japanese, German, Italian French horse and foot soldiers, and a group of English regulars with an East Indian contingent riding on canopied war elephants. A young women who rode on a mammoth float drawn by six white horses, glittering with gold and jewels, symbolized the Goddess of Peace. Other floats carried costumed trumpeters, vestal maidens, and flower girls.

In 1908, 1909, 1910 and 1911 the Barnum show reverted to a processional presentation called The Grand Tournament. The program said, " It was intended simply as a pleasing, picturesque tournament introduction of the feast of arenic features to follow, and yet embodying the rare and radiant elements of a sumptuously spectacular entertainment." Using wardrobe from past pageants Egyptians, Philistines, Phoenicians, Siberians, Africans, Arabians and Abyssinians were included in the march.

In 1912 and 1913 the Barnum show produced the major pageant May Cleopatra. An article in the 1912 Theatre magazine told of the rehearsing of the spectacle. "Mr. Alf T. Ringling, with scenario in his hand, is rehearsing a Roman mob, consisting of an army drafted from Bowery lodging houses, for the opening scene in the new great spectacle Cleopatra, on the huge double stage, built to hold 1,250 persons, 650 horses, a ballet of 300, a chorus of 300, 50 electricians, 50 stage hands and 10 property men (these numbers were highly exaggerated).

"Unable to secure a new 'thriller' for the circus this year, the ever alert Ringling brothers have started out to out do Professor Max Reinhardt in the production of wordless play. Cleopatra has a spoken 'starter-off.' And, it is not easy to drill an actor to say his lines so that they will 'get over' in the big top or Madison Square Garden. It took Mr. Ringling all afternoon to get the woman playing Cleopatra and the man playing Marc Anthony to say their combined three lines so that they could get them over the three rings.

"Trumpets sound in a dozen directions. The great armies of Rome appear in mighty phalanxes, banners flying, chariots rumbling and the armor glistening in the sun - a triumph in circus stage lighting. This procession takes the place of the oldfashioned tournament, which always used to open the circus performance.

"During all this time, over to one side of the mammoth stage door the Cleopatra spectacle 'Bud' Gorman was busy rehearsing the stage hands, property men and electricians in getting ready the wonderful stage devices for reproducing sandstorms on the desert-for even 'The Garden of Allah' hasn't got anything on the circus this year- earthquakes, mirages, falling temples, fires and volcanoes.

"And up in the balcony the circus band, looking incongruous enough in civilian dress, with derby hats, fedora hats and every other style of headgear, were being rehearsed in the score of the spectacle by Faltis Effendi, the late bandmaster of the Khedive of Egypt, who was especially engaged to arrange the score and write the incidental music. And up stairs in the concert room of the Garden, Ottokar Bartik, of the Metropolitan Grand Opera Company, as ballet master, was rehearsing three hundred girls in a great ballet of Ancient Egypt.

"The arena itself being cleared of the other acts, the elephants now come in for rehearsal."

The program stated that the spectacle was produce under the personal direction of William E. Gorman. Scene one took place in Alexandria, Egypt, with the rise of the curtain showing the streets of the city at daybreak. Cleopatra, surrounded by the attendants of her court, appears on the temple terrace and demands to know why Rome invades her city.

The last act depicts a festal scene in the court of Cleopatra. Caesar, incensed by rage conduct of Anthony, has advanced with his army on Alexandria. A courier brings Anthony news that the city is surrounded. Anthony goes forth to fight his own countrymen - for Cleopatra and for Egypt.

Festivities are at their height when it is learned that Anthony has been wounded to the death. Anthony is laid on a carpeted platform. Cleopatra rushes to his side and he dies in her arms. From basket of snakes she snatches an asp and holds it to her bosom. After its fatal sting she falls dead over the body of Anthony.

On March 30, 1914 Barnum and Bailey filed an application for copyright of The Wizard Prince of Arabia. Barnum and Bailey, a co-partnership, composed of Al Ringling, Alf T. Ringling, Charles Ringling, John Ringling and Henry Ringling, claimed the copyright. Part of the filing read: The title of said work and compositions and pictorial illustrations was represented by a wordless play in one act and constitutes a spectacle or exhibition for which an admission fee is charged by said Barnum and Bailey; that is connected with said exhibition, said book filed herein was published on the 21st day of March 1914, by being placed on sale, sold and published and distributed generally throughout the United States, and particularly. And in the vicinity of New York City, New York.

"The author of said work, dramatic and musical composition and illustrations and the whole thereof, is Alf T. Ringling, one of the members of said co-partnership of Barnum and Bailey, a resident of the United States, whose address is 221 Institute Place, Chicago, Illinois."

In 1914 the new spectacle was The Wizard Prince of Arabia. Alfred T. Ringling produced it. Fred Bradna was stage director. The cast included seven East Indian characters with five Indian magicians and seven Arabian characters with five Arabian Wizards. The production was a wordless play in one act and one scene, representing the marriage of Abdullah, Prince of Arabia, to Ahloo Saran, Princess of India, daughter of King Babar. Included in the pageant were East Indian ladies of the court, soldiers, jesters, fakirs, tribes of wild people and dancing girls. The Arabians were represented by generals, women of the harem, tribal chiefs, soldiers, horsemen, spearmen, elephants, camels, horses and riders.

The Barnum & Bailey 1915 pageant was Lalla Rookh, The Departure from Delhi.

The Barnum show presented Persia or the Thousand and One Nights in 1916.

In 1917 and 1918 Barnum & Bailey's spec was Aladdin and his Wonderful Lamp, described as a magnificent Chinese pageant. The program said the gorgeous costumes and accessories were all made in China.

The April 8, 1917 New York Times Magazine published an article titled "What it costs in Money and Effort to Devise a Circus Spectacle." It was an interview with Alfred T. Ringling.

It read in part, "How do I pick the themes?

"The first essential is a simple, striking story that can be intelligibly told by a spectacle, the and the second essential is that the story must permit a lavish display of color in the way of costumes and trappings and properties.

"Take for instance, The Wizard Prince of Arabia, the spectacle we produced three years ago, it was founded on a Hindu saga. The costumes were those of the Arabian Nights, and the story was a simple one of mystery and magic. There was a Prince, and of course, a Princess to be rescued, and a man of great strength whose feats included pulling up trees by the roots, and a bird of phantasy that flew over the heads of the audience, and that was shot by a single marksman.

"Cleopatra was a spectacle of a different cast. We left fairyland and went into history. But the prime essentials were the same - a simple story and color. The scene was laid at the time of Anthony's arrival at Alexandria. The decadence of Egypt meant lavish display of its Court life. So in selecting this period for a spectacle we had all the gorgeousness of the Orient contrasted with the soldiery of Rome and the Egyptian populace of the visitors from the adjacent deserts.

"This year, with our pageant of 'Aladdin and his Wonderful Lamp,' we have gone back to the land of the 'Arabian Nights.'

"As Mr. Ringling described the opportunities of 'spec stuff' presented by the story of Aladdin, as he mentioned various fairy stories and legendary incidents and discussed their relative 'spec' qualities and discussed their relative qualities, his face wore the happy smile of a boy - sort of super-boy - who can let his fancy wander into the long ago, who can get a thousand people to 'make believe' for him, who has a generous Noah's Ark filled with real animals upon which he can make draft, who can spend a hundred thousand dollars for costumes and scenery and other things that will make his fancy a real, live, viable thing.

"Having selected the theme for a spectacle and the other Ringling brothers having given it their approval. 'Mr. Alf T.,' as he is known within the circus, began writing the scenario. This will run about 6,000 words. 'I try to visualize the story,' Mr. Ringling explains, as it can be told in the arena. I try to translate it, so to speak, into 'spec' language, eliminating the incidents that cannot be told to the topmost row of spectators by pantomime, and emphasizing those that are most eloquent.'

"The working basis of a spectacle is 1,999 people, 100 to 150 horses, 10 to 23 elephants, about as many camels, sacred cows, zebras and other exotic animals as needed and about thirty minutes by the clock. When the spectacle is given in Madison Square Garden a couple of hundred 'supers' are hired; but when the show goes on the road under canvas the Barnum & Bailey army is recruited up to full marching strength by the addition of its corps of canvasmen and cook house men, every actor is in the spectacle.

After the theme has been decided "on a scenic artist is called into conference. As soon as he gets the conception he makes what is known as a 'dummy stage.' Mr. Ringling uses this as a guide upon which to visualize the movements of the various groups that are to make up the final spectacle. And the artist begins his task of painting the scenery, and the magnitude of this task is indicated by the fact that the breadth of his scene is about five times that of an ordinary stage.

"Because of the difficulty of setting the scene up in a satisfactory manner under the big top, a new plan has been used this year for the pageant of 'Aladdin and his Wonderful Lamp.' Five mammothe umbrellas gaudy as tropic dawns - are let down from the ceiling and act as canopies for the main incidents of the pageant.

"The 'stage dummy' completed, the next thing in order is the cast of characters - a tidy little job when your cast includes 1,000 characters. But every one of them, down to the most obscure spear-carrier, must be enumerated with mathematical exactness, for a costume must be designed for him, and also it must be planned how he is to be got in, around and out of the arena on schedule time.

"The next collaborator is the costume artist. He is given a list of the characters a number of accurate costume plates and a free license for high-speed pigmental activity.

"But there is nothing fanciful about the money that it costs materialize the conception of the costume artist into real clothes that can be worn by real men and women. The figure jumps high into the thousands, Aladdin, for instance, was a Chinese boy, and so to give the real atmosphere of old China to this year's spectacle of 'Aladdin and His Wonderful Lamp,' the costume plates were sent to China and the clothes were all made in Chinese sweatshops or what ever it takes place of sweat-shops in the Flowery Kingdom.

"When all this has been accomplished the big spectacle is at last ready for rehearsal. About twentyfive copies of the working scenario are distributed. Here are a few of the men who get one. The bandleader, the equestrian director, the captain of the supers, the boss elephant man, the superintendent of the wardrobe, the mistress of the wardrobe, the master of trappings. The enumeration of those few is sufficient to indicate the number and the variety of the cogs in the circus machine, each and every one of which must do its appointed part of its appointed time, in order that the public may feast on the 'climax of all gorgeousness! For back of and animating all that glitter and color and dash and romance are efficiency and system, inexorable omnipresent."

In the interview Mr. Ringling said nothing about the rehashing of costumes and props from earlier specs that were in storage in Bridgeport and Baraboo.

In the early 1890s Buffalo Bill presented a Grand Processional Review as an introduction of cowboys, Mexicans, Cossacks, Gauchos, Arabs and Army units from many countries.

The Cody show presented Custer's Last Stand in 1898. In 1900 a larger pageant was introduced for the first time, titled the Charge Up San Juan Hill. In 1901 and 1902 the spec was called The Battle of Tien Tsin, presented in two scenes. In England in 1903 the spec was titled The Battle of San Juan Hill. When the show returned to America in 1907 the Battle of Summit Springs was presented. This pageant was continued through the 1911 season. In 1912 and 1913 the spectacle was titled The Pyramids, Past and Present. The Buffalo Bill and 101 Ranch Wild West presented Preparedness in 1916.

In 1891 and 1892 Ringling Bros. presented Caesar's Triumphal Entry to Rome. This historical pageant was presented in three rings and one elevated stages and on the hippodrome track. It included marching warriors, gladiators, steel-clan knights, mounted cavaliers, helmeted spearmen, wandering Jews and Bedouin of the desert.

In 1899 the spec was called The Last Days of the Century, or the Light of Liberty.

The Ringling Bros. spec in 1901 and 1902 was the Grand Fetes of Ancient Rome. It was a panorama of regal magnificence, completely filling all rings, stages and on the hippodrome track.

In 1903 the Ringlings hired John Rettig to produce a major introductory spectacle titled Jerusalem and the Crusades. It was under the direction of Albert Ringling. Following the Ringling show's two-year cycle of specs it was there again in 1904. The production had seventeen characters. Part one took place in Auvergue, France in 1099 with a gathering of the Knights of the Crusades. The tournament presented the Knights in battle on horseback with sword and shield. The departure of the crusaders ended part one. Between part one and part two was the meeting of Emperor Alexis and the leaders of the crusade near Constantinople and the garland ride by twenty-four Knights. Part two was in Jerusalem, in the courtyard of the Emir's palace. A grand oriental procession of Mussalmans, Saracensm Turks and Egyptians took place that included dancing girls. Scene three was the battle on the ramparts of Jerusalem. In 1905 and 1906 Albert Ringling produced The Field of the Cloth of Gold. It took place on the border of France, in the Valley of Ardres in June 1520. The cast of characters included Henry VIII, Catherine, Queen of England and four other representing England. Francis I, King of France, Claude, Queen of France and four others represented France. Part one opened with a gathering of people from France and England to witness the consummation of a treaty between the sovereigns. The scene ended with a magnificent procession of combined Nobility, Knights, Nobles, Ecclesiastics, solders, of the English and French. Part two was the festive celebration of the establishing of cordial relations between the people of the two countries. The Kings, Queens and Nobility were then entertained by a series of elaborate exhibitions, introducing dancing on horseback, followed by a grand ballet.

The 1907 Ringling program listed the spec as A Magnificent Spectacular Introductory Tournament, illustrating the wonderful enterprise of Ringling Bros.' World's Greatest Shows. A panoramic review of scenes and incidents of the Days of Rome in the zenith of its great opulence, correctly costumed rulers, clericals, heroes and literati of this history making epoch. The same spec was presented in 1908.

In 1909, 1910 and 1911 the procession was titled The Pomp and Splendorof Ancient Egyptians. It included a Garland Entry, an equine ballet and a company of seventy-three skilled riders.

Looking forward to the 1912 spec John Ringling wrote to brother Al on January 27,1912, "When the spectacle Joan of Arc was done at the Hippodrome in Paris it was the biggest success of any spectacle ever produced in that city. It packed the Hippodrome for a year and a half.

"One feature of this spectacle amounted to a sensation and was the talk of Paris; in the spectacle they burned Joan of Arc, and as the smoke and flames came up around Joan, she made her getaway into the bottom of the funeral pyre, and in her place was a very finely gotten up dummy, dressed just like Joan of Arc, and two angels came down from the top of the building on a wire a la Grigoletti, and ascended into the top of the building bearing Joan of Arc.

"This could easily be done at the Coliseum in Chicago and would be a great effect. You could have sky borders along the roof, and I am sure it would be a great dramatic effect. It would be a very simple matter to rig up the apparatus for hoisting the angels."

Al Ringling replied on February 1, 1912, "Yes, I believe that the burning of Joan the way you say would be well as far as the flash and spectacular work is concerned, but we all thought to keep away from that part of this; finishing the spec with the coronation of King Charles. I doubt whether the burning scene would take so well with a big majority of our patrons. It might perhaps be looked on to as a sacreligeous [sic].

John replied on March 4, 1912, "Regarding the burning of Joan of Arc, I think you will make a big mistake if you don't put this on. It certainly will make a big hit and it will create a lot of talk. No one could look upon this as sacrilegious - in fact, it will be considered quite the opposite."

One of the brothers wrote John on March 12, "Al says that we will try to work this ascension if we can. Of course you know that our drop curtain at he Coliseum comes out to the edge of the balcony, and we would have to work this from a position in front of the drop curtain as we cannot draw her up thought the balcony floor. However, I believe this can be worked out all right and shall try to assist Al in getting away with it, which he seems agreeable to."

Albert Ringling produced a fullblown stage pageant in 1912 and 1913 called Joan of Ark and the Coronation of King Charles VII. There were 223 characters in the cast that featured Joan of Arc and Charles VII, King of France. There were fifty dancing girls in the ballet. Part one opened with Joan's meeting with the king at Chinon on March 8, 1429. The King presented her with sword and armor and the rejoicing of the populace began. The triumphal march from Chinon to Rheims introduced the French Quadrille on horseback. Part two began with the coronation of Charles VII in the cathedral in Rheims on July 17, 1492. At the conclusion of the ceremony the French ballet was introduced. Part three was the tableau of Joan at the cross.

By late summer of 1913 the Ringling brothers began thinking about a spectacle for 1914. In an August 14, 1913 letter to John, Charles wrote regarding the spectacle: "I think we should have it next year. I believe it us a necessity, but would do as you say-have one scene only, one change of costumes only and a ballet of fifty instead of sixty, I would open same with a fan fare of twenty trumpeters, the musicians in the band and tournament followed by an assembly and ballet. And confine the slow pantomime to the least possible. I would put it away up high so that everybody can see it. Our spectacle this year is not put up high enough and the people on the backside of the blues cannot see it. It will be easy to arrange a spectacle of this kind an it will advertise well as before an give better satisfaction."

It was decided to produce Solomon and the Queen of Sheba. On November 13th John wired Al saying, "Think Solomon good subject unless [John] Robinson having used it for fifteen years poorly produced might have a bad effect. [James A.] Bailey produced it in London and I think we have lots of the costume plates (drawings of costumes) and some armor and properties in Bridgeport, which would be useful. I have been investigating Lalla Rookh for Barnum show and Alf seems to like it."

On November 17 Al wrote Al Miaco, "We have about concluded to put on the spectacle 'Solomon and the Queen of Sheba.' Remembering that you were in this same spectacle for quite a number of years I thought perhaps you could give me some idea of how you did the spectacle. Will you please let me know anything you can about this production? How did the spectacle open up? What was the first that thy done in this spectacle? If you will kindly write me the way the plot of this ran I would appreciate same very much, and will more than appreciate it if you will let me hear from you as soon as possible what you know of this spectacle."

On November 20th Al Ringling wrote John Rettig, who had produced Solomon for the John Robinson Circus saying, "I was thinking that we could perhaps arrange with you to assist us in putting on a spectacle for the coming season; one that you have put on in previous years. It is an old spectacle and has been worked quite strong, but we think the subject is good and has considerable drawing power. Would you care to work with me in putting on this spectacle? If so and you would care to let me know your conditions would be glad to have you do so. Or if you wish you could run up here to Baraboo and we could talk the matter over. If we should not come to terms we would pay the transportation of yourself both coming and going. Would like to know in advance just when you would come so I would be sure to be at home on your arrival here."

Charles wrote Al on November 23rd saying, "I believe it will be a good idea to have Rettig do it if he will. I would call it Solomon and the Queen of Sheba. Solomon means more to the people than the Queen of Sheba.

"I have been unable to locate any books on Solomon that give any more than does the Life of Solomon and nothing to give illustrations although I had a man put in a whole day at the public library in Chicago."

Al Ringling wrote Rettig again on November 17th saying, "Your favor of the 25th just received. The spectacle we have in mind is Solomon and the Queen of Sheba. Of course we would not wish any one to know this besides yourself. We would hope to get started at this as soon as possible. In fact I have done some work on this spectacle; but if we could arrange with you would you not consider what I have done in this line.

"In the first place we would like to know what your terms would be; you to look after the scenery and paint same, we of course to pay carpenter work and material. I wish to say as far as the scenery is concerned we would like to do this spectacle in one scene if possible. By this means we could fix the one scene so that the public that are seated on each side of the scenery could see the show good. This scenery to be set stuff. So please let me know your conditions, and we will be able to give you a decided answer in return.

Rettig answered Al Ringling on November 28th saying, "Note what you say about getting to work on Solomon and the Queen of Sheba. It is a fine subject and was only very cheaply done original.

"When I first produced the show it made quite a hit with the Masons, who all congratulated me, gave me the grip, which not being a Mason I did not recognize. Then they asked me if I was a Mason. When I said no, they wondered how I had learned all about their paraphernalia. I had gone to the same fountainhead as the original Masons for my information. Now as terms are the main thing, to settle before we go anything further, I will state that for $7,500 1 will do my part as per our former contract.

"If this is agreeable I can arrange to come see you December 7. In the meantime I will freshen my memory so I can talk intelligently on the arrangements of costumes for the number of people you will have."

Meanwhile, on November 19th John wrote Al saying, "In regard to costume plates for Solomon, I have searched high and low for them in Bridgeport, but am unable to locate them. They were all sent to Alf Ringling in New York a year ago last winter and he says he expressed them back to Bridgeport, but I doubt whether we ever received them there.

"The costumes for the Barnum spectacle were all made by Landolf in Paris, France, and he probably has a set, or a good many of them, which I can probably get as I expect Landolf will make a lot of costumes for Barnum this year."

Al wrote Rettig on December 4 saying, "The amount you ask is altogether more than we could afford to pay. The show business now days dose not warrant such an expenditure.

"Would you care to make us a proposition, we to put the spectacle together and arrange same and you to furnish the plates for costumes and props? If you would prefer to do so you could also furnish the scenery.

"By experimenting we have found a way to put in scenery and not stop the people on each side of the scene from seeing the show."

Rettig replied to Al on December 5 saying, "Note what you say about the scenery. I will consider that. I do not believe my price is big for it was usual $10,000 before I did yours for $9,000.

"This is my proposition, I will do the work necessary, as I did before for you, the one change, design, but not paint the scenery for the sum of six thousand dollars."

While the negotiations were going on with Rettig the brothers were going full speed ahead in putting Solomon together. Al wrote to John on December 6 saying in part, "Have you any of the Solomon and Queen of Sheba wardrobe there that was used when the Barnum show was in Europe? I should think your wardrobe man would know this and what they were used for. If you have anything there and you think was really good in the Solomon can you send samples of same, and let us know what they were used for? Ask your wardrobe man if he has any Levite costumes that were used in Solomon. If so, could you send us one costume of same? It is very easy for us to get the costumes for King Solomon and this we can get and have made fine here in Chicago."

John Rettig wrote back to Al on December 13 and dropped a bomb on the relationship saying, "Sorry we cannot come to terms, as I would take pleasure in designing some striking and original costumes.

"Had I done the work however I would have not claimed the royalty as per my contract with the Robinsons, but of course under the circumstances you understand will claim my rights.

"I also retain rights to produce except for circus 'Solomon and the Queen of Sheba' and Solomon's Temple which I intend to use among many others in my contemplated moving picture productions. Of course you think my terms steep, but I spent thousands of dollars and years of time in historical research, my shows bear closest criticism from experts and each one has the correct individual character and does not look like some other show with a different title."

The brothers asked Walter Chamberlin, a Chicago patent attorney, to look into Rettig's copyright. Chamberlin wrote to Al Ringling on December 19, "Whether or not we will have to change the title from Solomon and the Queen of Sheba to Solomon in All His Glory or some other title depends upon my investigation of Rettig's rights, but I have no question at all but that you can go ahead with your preparation for the spectacle and I will advise you some time next week definitely as to the title."

Chamberlin, who had been in consultation with Ringling attorney John M. Kelley, wrote Al on December 24 saying, "Mr. Kelley and myself have been in consultation this afternoon. He tells me that it is practically impossible for you to put on the proposed spectacle without using more or less of what you recollect Rettig used with the Robinson people. It is therefore seems advisable to me that before proceeding any further we ought to make sure as to exactly what exclusive rights Rettig or Robinson have in this matter and I know of no way of ascertaining except by going to them. Personally I am strongly in favor of interviewing these gentlemen and attempting to make a settlement provided we are satisfied that they have any grounds for proceeding against us in case we put the spectacle on."

Al wrote Charles on December 25 saying, "We have gone ahead with the spectacle and I think Solomon and the Queen of Arabia will be fine. The wardrobe certainly will be the best we ever had, but it is hard telling how we are going to come out in regards to this title. I think the only way out is to get the rights from Rettig or Robinson, who ever has them. I just telephoned John Kelley to this effect and he is going to Cincinnati this evening. Kelley was here night before last.

"There cannot be much change in the spectacle from what they had. In fact I don't see how there could be. I told this to Kelley. As we surely wish to have this right before we put it on, as we would not like to be in a position where they could enjoin us from putting the spectacle before the people.

On January 3, 1914 Kelley wrote Charles Ringling, "Rettig was very 'sore' Charles. It was hard to deal with him at all. His wife butted in to the negotiations and this made it worse as she continually wanted to get advises of an attorney to protect them in the deal.

"I am closing today-$1,000. At 1:30 A. M. today I got them down to $500 for the use of the title for circus purposes only and $1,500 for complete assignment of his rights, and today got the final figure of $1,000 for complete assignment of his rights in all three titles copyrighted. He struck out for the big values on his copyrights for moving picture purposes.

"While I am satisfied that Robinson has little interest, if any, yet it might make it more safe for us if we had an assignment from him. But he may have long ago assigned his interest to Johnnie Robinson? I have this legal point in mind. Rettig cannot locate the certificate issued by the Copyright office. Thinks he turned it over to Robinson. Thinks only paper ever executed is the one which I sent you a copy."

Kelley sent this telegram to Al Ringling in Baraboo, "At one o'clock this morning I practically got Rettig to agree to 5 hundred for use of title for circus rights only. He would not close tonight, as it is late. But think can close in morning. I got offer of fifteen hundred for assignment of all rights. Think purchase of complete rights desirable if he retained moving picture rights. They might make it unpleasant and hurt show. You now best advise."

On the sixth day of January 1914 John Rettig assigned all of his rights in his copyright Solomon King of Israel "No. 16981 filed in my name in U. S. Copyright Office June 5, 1889."

After all rights were transferred the Ringling brothers went ahead with Solomon and the Queen of Sheba. It was directed by Albert Ringling in 1914 and 1915.

Scene one took place in the great Judgment Hall. Scene two was in the streets of Jerusalem. Scene three was at the gates of the holy city. Scene four was in the palace of the king. There were nineteen characters in the cast. This was one of the most elaborate productions ever presented by the Ringling show.

In September 1914 John Kelley wrote to the Strobridge Lithographing Company in Cincinnati, Ohio asking if they had copyrighted the special paper they had produced for Ringling's Solomon and the Queen of Sheba. Strobridge answered on September 10 saying in part, "We made application on May 5 and sent necessary copies to Washington on the same day for all of the subjects of Solomon and the Queen of Sheba, for which application had not previously been made, and hope we have 'duly' copyrighted all the subjects, but, as we wrote you on May 5 we had failed to file our applications up to that time."

The 1916 and 1917 spec of the World's Greatest Show was Cinderella, under the personal direction of Charles E. Ringling. (Albert Ringling died on January 1, 1916.) Scene one was in the Fairyland Kingdom. It was the proclamation. Scene two was in the home of Cinderella. It was the transformation. Scene three was in the streets of the magic city. It was the departure. Scene four was in the grand ballroom. It was the loss of the slipper. Scene five was on the king's highway. It was by the royal command. Scene six was in the palace of the King. It was the triumph of Cinderella.

This spectacle required extensive instructions for the movement of dozens of people and horses. Here is a part of the script for the Cinderella production.

"Act one. Scene one the home of Cinderella.

"As the curtain rises Cinderella is sweeping the hearth, Lord Pomposo, Lady Pomposo, sister Crosspatch and sister Make-believe are grouped at bench and table. At left lower terrace (table and two benches) 6 citizens (Co L) are playing cards. At right lower terrace (table and chairs) 12 citizens-four seated, others standing about and drinking (cups and tankards) some serving. The Chief Cryer to King Magnifico with attendants passes from R E across front to L. E. publishing the Royal Command that all attend a Grand Ball in honor of Prince Charming (order of group as follows). Chief Cryer with horn - 4 Bell Ringers - 3 Gong Men - 4 Guards-Proclamation Banner Bearer - 4 Guards - Ce Z-12 Citizens, as they pass enter with the Chief Cryer stops and calls attention of Lord Pomposo to the Proclamation, Chief Cryer now falls in at rear of his "cryer procession's" as they pass L and exit. The Pomposo family shows great excitement over the invitation. The sisters command Cinderella to attend them, mother and father dance attendance upon them while they decorate themselves, powder, arrange hair and beauty patches and add long plume to hair etc. The two sisters treat Cinderella scornfully, Lady Pomposo strikes her, all exit R L E except Cinderella who falls to her knees weeping. The Fairy Godmother as Witch, followed by six Gnomes enters LE (to arrive at center as Lady Pomposo strikes Cinderella) she ascends front as the Pomposo family exit. The Gnomes (dwarfs) busy themselves about center front steps and lattice fence (antics). Gnomes have pumpkins, which they roll about from one to another. Fairy Godmother who is dressed as a Witch (stooped with cane) removes cape and hat an stands revealed as the Fairy Godmother, She commands the attention of the Fairy Queen and the Fairy Ariel who descend (from behind sky border on wire.) (Arrange men to work wire) (In Coliseum they cannot be swung in on wires-they appear in doors R & L.) Fairy Godmother touches Cinderella with her wand and her ragged dress drops revealing her in a beautiful costume of a Princess. Fairy Ariel presents her with a tiara and the Fairy Queen gives her a pair of Crystal Slippers, as the slippers are presented the six Brownies enter the room up steps bringing Cinderella a huge bouquet. Cinderella exits L door. CURTAIN.

"Between Act one and Act two Cinderella is shown on her way to the Grand Hall in her carriage with attendants. They enter L pass the across to R and exit.

"Order of Procession:
"Knights in Armor Mounted (13)
"4 Guards on foot (Co C)
"Cinderella in Coach drawn by 4 ponies
"Georgetty footman
"4 Guards (Co C)
"8 Negro servants (Co T) omit rat headslass band around head
"Scene changes to terrace of the King's Palace. Seats (CO for King, Queen and Prince."

The entire story of Cinderella was told in pantomime. Gestures, signs, and action were performed by the characters.

The final pageant of the Ringling show was In Days of Old or when Knighthood was in Flower, in 1918. Charles E. Ringling produced it. There were thirty-two characters. John Agee played Sir Knight Valiant, Jenny Rooney was Princess Rosalind and Lulu Davenport was Queen Charming. There were four pages; two flower girls; a Bridesmaid; a Maid of Honor; four trumpeters; four huntsmen; four standard bearer Knights; four gentlemen in waiting; four ladies in waiting; four Negro spearmen; eight Arab warders. The ballet included eight dancing girls; twenty-four minuette dancers; twelve music girls; and twelve butterfly girls. There were sixteen King's guards, sixteen Knights guards, eight Cavaliers, eight citizens, eight choir boys, twenty-four ladies and gentlemen, twelve flag carriers (property men used), twenty-four soldiers (from grooms and property men), eight ax men (elephant men), eight bow men (from cook house), and twelve citizens (animal men). Eighty-five horses were used in the pageant.

The combining of the Barnum and Ringling shows in 1919 signaled the end of the big mammoth stage specs.

The Ringling-Barnum specs from 1919 to 1956 will be covered in part two of this article.

The John Robinson 10 Big Shows hired Charles Constantine to produce and direct King Solomon and the Queen of Sheba in 1891. It was advertised as a "Giant Biblical Sceneographic Spectacle." F. W. Zaulig composed special music and the scenery as designed and painted by John Rettig. It was advertised a $100,000 spectacular presented in front of a 300-foot long special drop curtain. There were nine principal characters and sixty-seven women in the grand ballet. Contrary to other circuses this mammoth production was presented at the start of the performance. Part one took place in the capital of Sheb, in Arabia, in the interior of the palace of the Queen of Sheba. The opening represented the grand banquet in the palace. The grand display and floral pageant introduced the serpent girls, the ancient guards, the Moorish girls entire Corps de Ballet. Part two took place in the exterior of the city of Jerusalem, showing the walls and towers and the great temple. Part three showed the interior of King Solomon's temple. The Ark of the Covenant was prominently displayed. King Solomon, with his pages, warriors and the High Priest advanced to meet the queen. Then came the grand triumphal march with different tribes from Jerusalem, the King's musicians, the Captain of the guard on horseback, the ancient guards, the Moorish girls, the high priest, King Solomon's wives, slaves with incense burners, King Solomon in a chariot, colored warriors, the Queen of Sheba on a canopy carried by slaves the Queen's maids, Arabs on horseback and Nubians leading wild animals. All returned to the temple Court and made their obeisance to King Solomon and the Queen of Sheba. Solomon and the Queen were then enthroned and amid the fanfare of trumpets the sports, games and pastimes began, consisting of chariot races, standing races, flat races and heat races were introduced. The finale was the grand ballet, presenting a grant scene of bewitching loveliness and artistic skill.

Dick Conover commented, "The Robinsons were evidently sold on the merit of the big spectacles and wasted no time in following Barnum & Bailey with their 'King Solomon,' first in 1891 and continuing every year thereafter there after until the show suspended operations after the not-so-profitable 1894 tour. By this time the scenery and wardrobe must have been quite shoddy. Compared to those on Barnum & Bailey, both in magnitude of the sets and in the number of performers, the Robinson production was decidedly second or third-rate.

"After the control of the show reverted to the Robinsons, following the lease to the Ringlings in 1898, the spectacle was revived in 1899 for a protracted run that continued through 1906. While new sets were built for this second edition, and the production appears to have been somewhat more elaborate, it is quite probable that the country had endured quite enough of Sheba by this time, at least, it was spared the revival that the preseason publicity promised for 1910."

In 1892 James A. Bailey and Joseph T McCaddon, owners of the Adam Forepaugh Circus, presented another super spectacle, directed by John Rettig. "The Fall of Nineveh, described as the dawn of a new era in outdoor-tented exhibitions is marked by the presentation in a grand allied conjunction with, and as an integral part of the Adam Forepaugh Shows. The most stupendous display of spectacular splendors and grandeur known to ancient and modern times." It was advertised as having special scenery, chariots, shields, weapons, battering rams, war clubs, spears, trappings, harness, robes and other paraphernalia. It was said to include 1,000 men, women and children, 200 star premieres, seconds, cotphees in the grand corps de ballet. The spectacle was presented with scenery. Auguste Siegrist was stage manager and Luca Resta was Maitre de Ballet. There were nine property men and eight scenery men. There were fifty-one women in the ballet and twenty-eight male dancers. The production was presented in five tableaus.

The first scene showed the walls and watch towers of Nineveh. The second showed the walls being moved away showing the city of Nineveh with a view of the Tigris River. The third scene showed the walls of Nineveh closing again. The fourth scene had the same setting and introduced the grand astronomical ballet. The final scene presented trumpets in the distance with a company of Niveite warriors rushing the defense of the King.

In 1896 the Great Wallace Show presented The Humiliation of Cleopatra and the Triumph of Augustus. This was a processional march, as Uncle Ben Wallace did not choose to remove the paying seats in the backside of the reserves.

Great Wallace presented the Festival of Olympus, with nineteen ballet girls in 1897. In 1899 Wallace presented the Panorama of Regal Magnificence. The ballet consisted of twenty women that year.

For many years the Grand Review, which preceded the regular performance of Buffalo Bill's Wild West Show was a thrilling pageant of rough riders of the world and soldiers of all nations. In 1916 Buffalo Bill was the star attraction on Miller and Arlington's Wild West Show, which presented an impressive military pageant appropriately titled Preparedness.

It has long been the custom of circuses to employ advertising experts to write copy for their heralds and couriers. Such bill writing press agents evidently knew every adjective in the dictionary for they could describe the most commonplace circus acts in a way that would make them seem wonders to behold. But when they had such super specs as Nero, Columbus and Ninevah to write about they turned out masterpieces of descriptive copy, which they could read later in print with a clear conscience. They didn't exaggerate much.

In the middle 1920s a circus press agent produced his first spec. It, like all that were to follow, was a tournament, or processional format, using the hippodrome track and all rings.

Rex de Roselli's show business career started with a tented stock company. He then worked with silent film companies. de Roselli joined the Al G. Barnes Circus in 1917 as a press agent back with the show. He continued in that position for many years. However his first spectacle was the 1924 Barnes opener titled Pocahontas at the Court of Queen Ann, which was repeated in 1925 and 1926. Harry Thomas, who succeeded de Roselli as spec producer on Cole Bros., said he had seen Alice in Jungle Land on Barnes and that Roselli had produced it. However, no reference can be found connecting de Roselli to that spectacle.

The American Circus Corporation hired de Roselli in 1927 to produce specs for its circuses. His first effort for Hagenbeck-Wallace was Spectacle of Beauty in 1927. The following year he produced Geisha for the Wallace show, which was was repeated in 1929. However, de Roselli also produced King Solomon for the John Robinson Circus in 1928 and 1929. He did double-duty in 1930 when he staged Golden Orient for Hagenbeck-Wallace and Cleopatra, Queen of Egypt for John Robinson. Golden Orient was repeated in 1931. Cleopatra was revived for Hagenbeck-Wallace in 1932. The Soudan was the de Roselli spec on Hagenbeck in 1933. In 1934 and 1935 he staged Persia for Hagenbeck-Wallace, De Roselli followed Adkins and Terrell to the new Cole Bros.-Clyde Beatty Circus in 1935 and produced Serenade of Spain for the 1935 performance. The spec was repeated in 1936 and 1937. In 1938 he produced La Seville for Cole. It was repeated in 1939. He also staged La Argentina for the 1938 Robbins Bros. Circus. In his final years he produced La Habana for Cole in 1940 and Pan Americana in 1941. Rex de Roselli died in East St. Louis, Illinois on July 22, 1941.

He was in that city handling press for Cole that played there the following day. He was the most prolific producers of circus specs and is credited with first using fireworks in a circus performance.

After 1900 other circuses presented these specs.
The Forepaugh-Sells Circus spec in 1905 was Circus Panama.

The spec on the Great Floto show in 1905 was Mysterious India. In 1905 the Texas Bill Wild West spec was Battle of Wounded Knee.
Gollmar Bros. Circus presented Queen Cleopatra's Birthday in 1907. And Entrance of Anthony and Cleopatra into Alexandria in 1909.
Howe's Great London's spec in 1915 and 1916 was the Garland of Roses. In 1922 the show presented Cinderella in Jungle Land.
The Wheeler Bros. Circus presented David and Goliath in 1916.

The Al G. Barnes Circus spec in 1917 and 1918 was The Conquest of Nyanze. In 1919, 921 and 1922 the show presented Alice in Jungle Land. In 1924,1925 and 1926 the feature was Pocahontas at the Court of Queen Ann. In 1927, 1928 and 1929 the Barnes show presented Aladdin and Parade of Gold. In 1930 and 1931 two specs were presented, Persia as well as the Pageant of Gold. In 1932 and 1933 it was just the Pageant of Gold. Fiesta of the Rio Grande was the Barnes spec in 1935 and 1936. Old Mexico was the 1937 Barnes spec.

Hagenbeck-Wallace's spec in 1923 was A Night in Persia. In 1925 Arabia was the spec. In 1927 the spec was Spectacle of Beauty and Romance. Produced by Rex de Roselli. In 1928 and 1929 the Wallace show presented Geisha. The 1930 and 1931 the Hagenbeck-Wallace spec was called The Golden Orient, produced by Red de Roselli. The 1932 Spec was title Cleopatra, Queen of Egypt, produced by Roselli. In 1933 the spec was The Soudan. Persia was repeated in 1934 and 1935. It was produced by Roselli. The 1937 Hagenbeck spec was Pharaoh's Caravan, produced by Ralph Clawson.

In 1923 and 1924 John Robinson's Circus featured Peter Pan in Animal Land. In 1925 it was Arabia. In 1925, 1926 and 1927 the Robinson spec was Fairyland. In 1928 and 1929 the Robinson show presented King Solomon and the Queen of Sheba. written and directed by Rex de Roselli. The spec in 1930, again produced by Rex de Roselli, was called Cleopatra, Queen of Egypt.

In 1918 and 1919 and the Sells-Floto Circus presented America and the Birth of the Rainbow. In 1922 it was A Night in Cairo. In 1923 the Floto show featured A Night in Persia. In 1924 and 1925 it was The Bride and the Beasts. In 1927 the Floto show presented Birth of a Rainbow. In 1928 the Floto spec was Dance of the Garlands.

In 1920 Christy Bros. featured The Birth of the Rainbow. From 1924 through 1929 the Christy spec was Noah and the Ark.
Golden Bros. presented Cinderella in Jungle Land in 1923.
The Robbins Bros. Circus spec in 1926 and 1927 was the Historic Review of America. In 1930 Robbins Bros, presented Mother Goose.

In 1923 Sparks Circus presented Scenes from the Time of King Tut. The Sparks spec in 1924 was An Egyptian Fantasy. In 1925 and 1926 it was Wedding of L'Ora. In 1929 Sparks presented Lily of the Nile.

In 1929 and 1930 the Miller Bros. 101 Ranch Wild West presented Julius Caesar. The pageant included Roman standing and chariot races. There were eight principal parts as well as dancing girls, priests, soldiers and royal entourages.

Michael Means brings us up to date as he told of spectacles presented by today's truck circuses. "Anyone acquainted with specs offered today, might have difficulty imagining what specs were like before the 1920s. We are used to a procession around the rings of performers and animals, the former often in special costumes and the latter elegantly presented, all then assembling in the rings for a musical leadin to the first series of acts. The largest circuses often attempt something grander. Barbara Miller Byrd, coowner of the Carson and Barnes Circus, likens he spec to the old street parades that died out half a century ago." Harry Thomas produced Sampanca for Cole in 1942. It was followed by The Fate of the Garlands in the performance. Thomas continued with The Conquest of Coronado in 1943.

The 1944 Cole spec was The Castle of the Taj Mahal, another Thomas production, Thomas continued with Caliph of Bagdad in 1945.
Caravan to Mecca was the Cole spec in 1946, also a Thomas production.
The 1947 production for Cole was The Clown is King. Harry Thomas' final spec for Cole in 1948 was Ponce De Leon an the Fountain of Youth. In 1949 the Cole spec was titled Mandalay.

In recent years Barbara Byrd has planned, staged and costumed such spectacles as A Circus Trip Around the World, Caravan from Cathay, The Circus on Parade, The Reign of Caesar, Old Mexico, The Clown is King, To AmericaWith Love, Rio Razzle Dazzle, The Golden Age of Chivalry, The Golden Olden West, Tropical Treasurers, The Raucous Roaring Twenties, Aztec Amazement, Viva Espana, and The Elegance of the Orient.

The Carson and Barnes processional spectacles were presented during the performance as opposed to being the opening of the show.

The Circus World Museum Research Center, Richard J. Reynolds III and Dr. Michael H. Means contributed material and illustrations for this article.

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