Cooper, Bailey & Co.'s Great London Circus, 1880

Route Book of Cooper, Bailey & Co.'s Great London Circus and Allied Shows For the Season of 1880. Compiled by W. G. Crowley, Philadelphia: Merrihew & Son, 1880. Circus World Museum's Parkinson Library provided the photocopy of this route book. All information should be checked with additional sources. There will be spelling and typographical errors.

Preface

    So far as the combination of which we write is concerned, the season of 1880 has been one of, if not the most remarkable since that memorable day in the year of our Lord eighteen hundred and twenty-five, when Nathan A. Howes gathered his little company together at Brewster’s Station, N. Y., and with Samuel Stickney, from the ole Mount Pitt circus in New York city, as the star commenced the first tenting season known in the annals of American show business. It has been remarkable in many respects. The number of people visiting it has far exceeded the number ever gathered by any other exhibition of its kind. Its receipts and expenses have been far greater than any other. Those who came were well pleased and highly praised it. The press have in all instances lavished praise. A reputation has been gained which will last while the memory of the circus exists. A glance at the history of the organization and of the men who control it explains this. It has been successful under their guidance from the first. Ability, experience and untiring energy have been justly rewarded. It was but right that their untiring efforts should be rewarded in full measure. In 1876 capital was used and talent employed without limit in order that the Great International Allied Shows should be placed properly before the public. That season ended in San Francisco, a successful one in all respects. Then, after careful calculation of all points involved, the exhibition was sent upon its foreign tour, embracing Australia, New Zealand, Tasmania, the Dutch East Indies, the Phillipine Isles, Japan, China, the Straits Settlements, British India, South America and the West Indies. It was a hazardous undertaking, but skillful management overcame all obstacles and compelled fickle fortune to grant success. On its return to America the management saw that there was a great work for them. An amalgamation was effected with the Great London Circus and Sanger’s British Menagerie. This immense aggregation of arenic attractions and magnificent massing of managerial wonders astonished the country, and afer a lengthened season closed its doors at Piedmont, Missouri, December 1, 1879, with the most successful record, up to that time, achieved in America. The entire exhibition was taken to Philadelphia and there placed in winter quarters. Work was immediately commenced upon the most liberal scale for the present year. The most experienced, able and talented writers were employed to devise new and attractive bills; artists designed and engravers engraved lithographs, while the mammoth show printing houses at Cincinnati, Buffalo and New York wre busily employed in the production of the paper to be used. The men to have charge and direction of the various departments in advance were selected and their assistants engaged. The route to be traveled was carefully mapped out and every detail attended to. The most celebrated artists in all departments of the profession were negotiated with and the best of them secured. Able, experienced and reliable men were engaged for very department of the great work. Orders were issued for new cars, and the trains which had been used were at once placed in shops to be repaired, painted and rendered the most improved in the country. The magnificent tableau cars and golden chariots, together with the cages, dens, carriages and wagons were repaired, repainted, decorated and gilded. Many new ones were constructed. Twenty thousand dollars were expended in the purchase of new wardrobes, while every article used in any way about the establishment was thoroughly inspected in order that all things should be in keeping with the reputation of the exhibition. Special agents were dispatched to Europe in search of additions to the already large menagerie, and the result of their labors was seen in the augmented attractions of that department of the show. Messrs. Cooper & Bailey determined that money considerations should not deter them from placing the best tent-show exhibition before the public. The only question asked was, “Will this artist or agent, material or animal, add to the attractiveness of our exhibition?” If the answer was favorable money was a secondary consideration. Before the show opened its doors $173,918.53 had been paid out by the firm on account of the exhibition. Subsequent events have proven the expenditure to have been a judicious one. The attainment of a certain object was in view. Everything was subordinated to such attainment. Talents, time and cash were used without reserve. The goal has been gained. The season marks an epoch in the history of amusements. The name of the exhibition and those of its managers, agent and attaches have been carried high up in the temple of fame.
    In all great movements there has been, is and will be some central figure to which the attention is pointed and about which the subordinate attractions are grouped. Show business is no exception. There must be one attraction toward which the public attention shall be most prominently drawn. The more deserving the attraction, the more it will be written about, spoken of and referred to. In 1879 it was the “Electric Light;” in 1880 it has been the “Baby Elephant.” It was the first of its species ever conceived and born while the parents were held captive by man. Darwin in his “History of Domesticated Animals,” together with the most learned scholars of natural history, support this assertion. “Mandrin,” the father, and “Hebe,” the mother, of the now famous baby were imported into America in 1871 by James E. Kelly, who sent Elbert Howes to Ceylon, where they were obtained. Both were excellent performing elephants. The birth took place at Messrs. Cooper & Bailey’s winter quarters, March 10, 1880. The attention of scientists and medical men had been called to the fact, and the extraordinary character of the event was at once recognized by them. They devoted a great deal of attention to the subject, not only in America but in Europe. It was also material for the newspaper, magazine and journal. Illustrated papers seized the opportunity, while the daily journals devoted many columns to the subject. In this way the exhibition and its stellar attraction obtained free advertising far in excess of that ever given to any other exhibition. This was all used by the management, who at once caused new lithographs to be made and bills of all sizes to be printed, descriptive of the great event. It was made the “star” feature of the show, and nothing could have better served the purpose. Popular curiosity to se it was stimulated in every way; the imagination of the public was set to work by every device, and when the little thing appeared the public mind was over anxious that it should be seen. It was something which had never been seen before. This was a great opportunity, and one of which advantage was well taken. Arouse curiosity and you open the pocketbook. It was aroused and the pocketbook opened — opened in a way unprecedented. Up to the date of this writing, Saturday, October 9, 1880, James E. Cooper, of Philadelphia, and James A. Bailey, of Cincinnati, sole proprietors of the precious baby, have divided $473,941.16 between them, that sum being the clear profits of their exhibition up to the above mentioned date. The season will close October 30, and it is but fair to presume that the profits will then have reached the hitherto undreamed of sum of half a million dollars.

The Advance Department

    The most essential point in all amusement enterprises is to advertise. When Kerngood, “the famous” New York tailor and clothier, asked P. T. Barnum if there was not such a thing as over-advertising, the Prince of Showmen replied: “In the vast vocabulary of him who has a thing to sell or show there’s no such word as ‘over-advertise.’” James A. Bailey, general managers in charge of all departments in advance of the Great London Circus, and James E. Cooper, his partner, have long recognized this fact. The component parts of the electric light laid around loose for centuries, until the genius of Brush placed them before the people; but all the genius of Brush would not attract as much attention towards that light as was attracted by the skillful manner in which it was advertised by the London Circus in 1879. To properly attract attention toward any given object, and thereby induce people to pay for obtaining or seeing it, requires great skill. The ablest men in the country were selected for this important work — men of experience, ability, energy and ambition. Charles W. Fuller, J. E. Warner, John W. Hamilton, W. W. Durand, Samuel H. Josephs, R. G. Ball, J. A. Wood, G. A. Bernard, Matt Leland and Crete Pulver, constitute an array of names never before written together. Each is capable of advertising an exhibition well, but when their entire efforts are harmoniously directed to the accomplishment of one object, and when those efforts are aided by well-trained and skillful assistants, the fullest possible measure of success must await them. It has done so. Each gentleman has had his special department, every available assistance has been rendered, and the result of their united work has been only too apparent in the results of the season. Every means that experience suggested or ingenuity invented has been resorted to that the people might know the Great Show was coming, with all its wonders. They knew it, and came to see it. There was a time when one lone agent went three days before the show to hang up a few bills announcing the coming of the exhibition; but that time has passed. Between forty and fifty men went forward to herald the approach of the London Circus. There were two advertising cars and a dozen agents of various departments. Mammoth many-colored posters were placed upon the walls and bill-boards; small bills were thrown broadcast over city, town and country; beautiful bills adorned every room, and attractive lithographs were seen in every window. In all newspapers were seen the pictures of the show and read the glowing descriptions of its greatness. For miles around the fences, blacksmith shops and boards blazed with the wonderful display. Nor was printer’s ink the only means employed. A skillful crayon artist placed a picture of the Baby Elephant, with the name and date of the Show, on every pavement and everywhere else he could get them. A man went about drawing pictures with soap; the stereopticon was well employed. On all sides it was conceded to be the best advertised exhibition the world had ever seen. The quantity of paper used was enormous, and the daily expenditure about five times as large as ever before known. Each did well in his department, and all worked harmoniously together for the accomplishment of one object. The only opposition encountered was with the Barnum and Forepaugh parties. The exhibition went into Brooklyn one week after the Barnum Show, and took about twice as much money as it did. It then followed Barnum party into six New England towns, and also Boston. In each of those six towns people were turned away by thousands at every exhibition, while in Boston the business was beyond all precedent. The great Barnum himself admitted that crushing character of the opposition and the wonderful success it met with behind his previously-considered alone and unapproachable exposition. It was the greatest triumph recorded in the history of opposition battle. John W. Hamilton, Special Advance Manager of the London, worked with a will throughout the fight, and to his untiring zeal much of the victory is due, though each and every one engaged deserves especial praise for the famous victory. At Buffalo and Cleveland Forepaugh’s Aggregation was met and vanquished, while the other shows in the country were too fully alive to the danger of engaging in opposition, and kept a safe distance.

The Exhibition

    A show may be advanced without limit; but, if it fails to satisfy the public, its receipts will soon show a decrease. A good show, well advertised, will invariably make money for its owners; a poor show will not. The exhibition must be complete in all departments. Messrs. Cooper & Bailey knew this, and organized accordingly. We have seen how well the work was done in advance, permit us to say it was fully sustained with the show. The canvases were the largest ever spread in the world by any circus and menagerie; the street parade was the longest, most varied and attractive ever put before the people; the menagerie was superior to any before seen, and never before has such a ring performance been given or so many celebrated artists been congregated in one company. The general management has been in the hands of James E. Cooper, assisted by such efficient aids as Henry Barnum and Lewis Hedges. N. Austin has had charge of all matters pertaining to the equestrian department, James Robinson has directed the musical matters of the show, while Robert Ellingham has performed the duties of matire de cirque in that efficient manner which has rendered him so well known in connection with the profession. Homer Silvey has signally shown his ability for the position of master of canvas, and B. V. Rose managed the transportation department with his ususal ability until the second season in Philadelphia, when he resigned, from which time the position has been occupied in a highly creditable manner by William Simpson. P. Harris has shown his ability to handle different departments by the very able manner in which he has acted as special manager, especially during the tour through New England. Geo. W. Johnston has well filled the position of superintendent of the menagerie, which has been unusually attractive this season, the Baby Elephant being the main feature, while the performing of the American lions by Mrs. A. Still, the Bengal tigers by Prof. Still, the lions by Theo. Ferris, and the hyenas by C. F. Lanahan, all of which has been done here, has added greatly to the attractiveness of this department of the Great Show. The Brush electric light has been used throughout the entire season, as it was during the last, and has proved itself a grand success. Prof. M. E. Sherman has had charge of the same, and owing to his mechanical skill and knowledge, and the energy of his assistant, Jule Meredith, everything has worked smoothly. The loud-sounding Caliope has uttered its notes under the manipulation of Prof. Thomas King. Percy Manders, who has had the superintendence of the sleeping-cars, has also accredited himself well in his department. Of the ring performances, for two rings have been continuously used during the season, it is unnecessary to say anything beyond the universally-acknowledged fact that they have been the finest ever witnessed in any part of the world. Every act has been a masterpiece; every artist a star. This could not well be otherwise, for it will be borne in mind that the management selected only the acknowledged leaders in the various departments of arenic work — no fill-ups were required. In order to obtain any position in the equestrian department, the applicant had to have a well-known reputation as an artist of ability. This rule secured a corps of artists any one of whom was capable of sustaining the star character in an ordinary show. A glance at the programme — extraordinary in length, wonderful in variety and astonishing in its completeness — will prove this high claim to be well founded. Never before in the history of show business have such an array of justly celebrated artists been gathered together in one company. Charles W. Fish, champion of the world, and an acknowledged arenic star of the first magnitude, has been with the show during the entire season. William Dutton, the peerless equestrian, whose name it’s a household word throughout America, has also added to the glory of the arenic performances. M’me Adelaide Cordona, whose four-horse act and dashing principal performance have won plaudits from press and public not only in America, but also in various other sections of the world, has also lent the aid of her talents to render the show an unexampled one. Linda Jeal, queen of the flaming zone and dashing equestrienne, was also there. The daring Mexican hurdle act of the great and only Signor Geronimo Bell has astonished all. In the trapeze department the aerial act has been well represented by the famous Lawrence Sisters, well named “The Queens of Aerial Art,” whose act stands alone in its beauty, grace, daring and wonderful power of attracting and holding the attention of an audience, and the celebrated French Family Davene, who have added new glory to an already great reputation.
    The Leotard’s and the Snow Brothers have daily shown their wonderful ability as acrobats and gymnasts — performing acts hitherto accounted impossible. The extent to which the physical powers of the human frame can be educated has been abundantly illustrated by the wonderful feats of strength and dexterity performed by James Messenger and Mdme D’Atalie. W. O’Dale Stevens has exhibited great talent upon the animated table, while Crossley and Elder have delighted thousands by their exhibition of ancient Scottish pastimes. The acme of the art of performing on the tight-rope has been illustrated by M’lle Eva, and the wonders of the Japanese juggling have been exhibited by the Prince Katsnoshin. Nat Austin, the great Shakesperian clown; Whimsical Walker, the famous trick and pantomime clown, and Johnny Patterson, the only and unapproachable Irish clown, have kept the audiences merry. Each differed in his manner; each had new and original tricks or stories, but all succeeded in raising shouts of laughter by every word or gesture. Billy Hayden was with the show a part of the season, and when he left Whimsical Walker came. Mr. Walker’s already great reputation has been increased, and his success with the show was wonderful. George W. Kline and Charley O’Brien have well distinguished themselves as the funny men of the leaping party, while Charles Bliss, the famous break-neck clown tumbler, and Nick Lawrence created roars of laughter by their odd dress and strange pranks in the act of tumbling. The leaping party has been by far the strongest ever organized. It was led by the world’s champion, William H. Batchelder, whose claim to the title has been well sustained during the season. At Haverhill, Mass., Mr. Bachelder threw a double somersault over eleven elephants, one being upon a three foot pedestal, alighting clear and straight upon his feet. By actual measurement this leap was thirty-five feet long and twenty-three feet high. Tommy Ward did a diving double over five elephants, one of which was upon a pedestal, at Oswego. James Campbell’s layouts and William Dutton’s full twisters have also added greatly to the act. Louis Mette, during the season, has acted as catcher, and in that position prevented many accidents with his skill and strength. Aside from Batchelder’s wonderful leap the feature of the act has been the double somersaults. Twelve of the party threw them regularly — William Batchelder, William Dutton, William Conwell, William Stevens, James Campbell, James Donavan, James Murray, Thomas Ward, Thomas Cary, Jerry Bell, Louis Snow, Charles Ellis. In addition to this George W. Kline, the funny clown, has thrown a double daily, clad in clown attire. The grand act of tumbling has been the best ever witnessed in any country. It was led by James Murray in one ring and Fred Runnels in the other. More difficult tricks were shown and more applause gained than ever before. In the language of an old showman who saw the act in Boston it was “simply immense.” The performance of the elephants so ably done by Prof. Arstingstall and the exhibition of the performing oxen by Prof. Johnston must not be forgotten. “Uncle Robert Ellingham has acted throughout as maitre de cirque, while the music has been well furnished by the splendid band under the supervision of Prof. Robinson.
    In conclusion let us say every act has been a masterpiece and every actor a star, and this need cause no wonder, as the artists would not have been there were they not stars, no “general jobbers” being wanted with the exhibition. The splendid ring performances have held the attention of audiences from start to finish and gained more space and praise from the press than was ever before conceded to any performance beneath canvas.
    The Great London Circus and the Great Forepaugh Aggregation wintered in Philadelphia, and the managers of the two organizations, after considerable negotiations and at the request of press and public, decided to pool their issues and exhibit under one canvas for two weeks. This was done, the two large shows exhibiting their menageries and circuses jointly, thus furnishing an extraordinary entertainment, and one which justly met with extraordinary success. Of course, the Great London furnished the most attractive features, and whatever was done by its managers received the sanction of those of the Aggregation, who simply said, “The same on our side,” and let it go.

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Memorable Events

    The weather, on the whole, has been of an unusually fine character. There have been occasional rains and high winds, but their effect upon business or comfort has been slight indeed. No disastrous storms have been encountered, and rarely have the men been called upon to drive extra stakes. There has been no blow down, and Paterson was the only day lost during the season on account of weather, the abandonment of the night show at Susquehanna having been more on account of a bad lot and long run than the weather. Rubber coats, umbrellas and “goloshes’ have been wanted occasionally, but as we before said, the season has been a fine one. Business has been great beyond expectation, the exhibition drawing more people and taking more money than any before known. The tents have been crowded daily and thousands have been turned away repeatedly unable to obtain even standing room. So great were the crowds that new extra seats were put in at Worcester, Mass., and thereafter thirty-one tiers of seats were used almost daily. The success was of the most astonishing character and can be attributed only to the extensive and judicious manner of advertising and the unparalleled attractiveness of the exhibition in all its departments. As usual, accidents have occurred, though fortunately without such serious results as some seasons have witnessed. Upon the cars there has been none worthy of mention, there having been no run offs or railway accidents to chronicle. B. F. Sweeney, bill-poster of car No. 2, had his leg broken by a runaway team at Albion; Crawford Hodge broke an arm in August and went home for the season. General good health has prevailed among the men ahead of the show, and their course has been a smooth one save as above mentioned. With the show there has been few accidents of note outside of the ring, and there they have been few. In Philadelphia, Lucy Davene fell from the high pedestal used in the trapeze act and was badly injured. It was thought at first that she had been killed, but she soon recovered and still performs her daring act. George Arstingstall was accidently struck by an elephant’s trunk early in the season, but was not so disabled but what he can carry his own trunk now. George Lair, of the Leotards, fell from three high and was out of the ring some time; he was slightly injured, as was also George Blis afterwards in their thrilling act; George Bliss subsequently sprained his ankle in the leaps, and was out again. William Elder fractured his arm at Utica, and was absent several weeks. W. O’D. Stevens injured his shoulder blade at Penn Yan, and was laid up several days. Charles Fish injured his arm at Watertown by a fall, but was soon at work. Fred. Runnels hurt his knee, and James Murray, his arm in Boston, and both were absent for a time. Mr. Murray while throwing a double over the elephant pyramid at Salisbury, was badly hurt. George Kline narrowly escaped a broken neck at Lynn while leaping, and Thomas Ward injured his shoulder at Troy. These have been the most noticeable accidents of the year; the others, such as Guinea Pig Jim getting off his chump and Dosing Dave falling on his nut, being of minor importance. There have been plenty of raffles this season, old watches, bad jewelry, revolvers and even rubber coats have changed hands in this way, and they have furnished plenty of amusement. “Classing” was in order, and some of it was done beautifully. Patterson raffled a rubber coat and lost not only the coat but the coin. Mons. Davene tried his hand with a watch, but being new at the business lost, and in his bewilderment he exclaimed, “God Almighty me!” and at once declared himself to be “a viscious little man,” while the deep toned voice of Jerry cried “The hogs has got us once again.” Billy Dutton tried to raffle a fifty dollar bill for sixty dollars, but the boys had had enough and it fell through just as Fred Runnels fell through the bridge at New London with a carpet bag full of clean washing, on which occasion Conwell and Campbell rushed to the rescue and saved the young man and the young man’s grip.
    There has been a good deal of malaria prevalent this year among the young men, though it has not prevented them from work. At Augusta, Me.,Katsnoshin fell off a log into the river. He loudly screamed for help, while the small boys on the bank yelled, “Pork.” At Gloucester there was a yacht race, in which Dutton and Crossley beat Elder, Donavan and Katsnoshin for two dollars, but the money has not yet been paid. Among the favorite songs of the season, “Meet me in Lynn, my Dear,” by one of the gang, has taken a prominent place. Patterson’s schoolmates have been as numerous as ever, and the jovial John has thoroughly enjoyed himself with the lads from Ennis in the country Clare. The dulcet strains of the violin have been wafted over the boxes all the season, but still there is no music stand. Of races and matches there have been plenty. July 10th, O’Brien beat Kline 100 yards for $100; July 29th, Mette beat Stevens 100 yards for $25; Tom Ward and Archie the Piper wrestled some time in June; Donavan beat Ward 150 yards for $20. On July 4th, Messrs. Cooper & Bailey gave $100 towards celebrating the day in a worthy manner. The fireworks were let off after the night show by the company, and an enjoyable time was had, a four-horse team adding to the attractions by running away, and scattering stuff all over the lot. During the entire season the “hog train” has traveled along with the show, and “pork” has been plentiful. Among the sad sights of the season was a visit to the grave of James Cassim at Johnstown, Pa. The entire company formed in line, and headed by the band, marched to the resting-place of the dead performer. Dirges were played and sad songs sung, while fair hands strewed beautiful flowers upon the tomb of one who was loved while he lived, and whose untimely death was mourned. At St. Albans a number of the company, on invitation of Mr. Fish, visited his residence, and were entertained there in a most hospitable manner. General harmony has prevailed during the season, and the relations between the members of the company has been very pleasant. There have been very few changes in the personel of the company during the year, and most of those who started out have remained until the end. The Snow Bros., Whimsical Walker and M’lle Eva have joined since the commencement, and proved valuable accessions to the show. Billy Hayden left at Bangor, while John W. Hamilton resigned at Watertown; B. V. Rose, W. O’Dale Stevens and Linda Jeal severed their connection with the show at Philadelphia.

The Privileges

    The success of the privilege department has been in many respects greater than that of the large show itself. This remark holds good of all departments — annex, concet and confectionery departments. The people were present to be attracted and induced to patronize the many attractions of the different divisions, and no man is better fitted by nature and experience to perform this task than the proprietor and general director of the London privileges, James L. Hutchinson, “the Napoleon” of the privilege business. To his untiring efforts the wonderful success met with in this department is mainly due, though he has received material aid from the energetic gentlemen in his employ. From the start success has attended the work of Mr. Hutchinson, and it is but justice to state that it was fully deserved. Every department of his section was organized upon the most approved plan. Attractions were obtained for the concert, while the most striking curiosities that nature can furnish, together with an excellent band, were obtained for the museum department. The painting display was the largest ever seen. For the first time in the history of the side-show a double row of paintings were placed outside of the museum. This brilliant display attracted much attention and materially increased the receipts of the establishment. For the confectionary department young gentlemen of good address, striclty temperate habits and excellent character were engaged. No lemonade, candy or other material was sold inside the circus pavilion — an excellent change from the old method. E. C. Kohl managed the affairs of the annex exhibition in a manner highly commendable, and owing to his untiring energy it was always ready for visitors. L. L. Jarboe has superintended the confectionery department ably, while John Patterson has exhibited rare skill in the management of all things pertaining to the concert performances. More people have daily attended the concert and annex than ever before known, and they have all been satisfied, press and public uniting to characterize the exhibitions as the best of their class ever presented to the public.

The Programme

    This little journal, which has been issued daily during the season and which has contained the general news of the day, together with advertisements of the merchants in the places visited, and spicy songs and anecdotes, has been under the able management of Messrs. Harris & Loyd — its editors, publishers and proprietors, C. Loyd having charge of the advance department and P. Harris of that with the exhibition.

The Advance Department

James A. Bailey, General Managing Director and Chief in Command of All Department in advance of the Exhibition.

Charles W. Fuller, General Director.

J. E. Warner, Gen’l Manager Advt’g Dep’t.

W. W. Durand, Manager Publications.

John W. Hamilton, Special Advance Manager.

R. G. Ball, Contracting Agent.

S. H. Josephs, Special Agent.

J. A. Wood, Excursion Agent.

H. C. Hedges, Mail Agent.

G. A. Bernard, Stereopticon Agent.

James Baker, Assistant Stereopticon Agent.

Matt Leland, Manager Advertising Car No. One.

M. J. Ready, Superintendent Bill Posting.

Geo. Baldwin, Assistant Superintendent.

Bill Posters: Robert McGraw, Charles Reynolds, D. Occunner, J. J. Layden.

Burt Pierson, Lithographer.

Charles Ketler, Programmer.

C. Flook, Mailing Clerk.

H. P. Mock, Chime Bell Player.

Assistants to Excursion Agent: Fred. Smith, Geo. Parker.

Crete Pulver, Manager Advertising Car No. Two.

Gordon Pulver, Superintendent Bill Posting.

A. S. Kress, Assistant Superintendent.

Bill Posters: J. H. Ryal, D. Carroll, J. T. Leonard, P. Smith.

J. W. Bailey, Lithographer.

George Goodhast, Programmer.

C. H. Grubb, Mailing Clerk.

Charles Lakier, Caliope Player.

Assistants to Special Agent: J. H. Decker, William Clark.

George Skelding, Banner Painter.

Crawford Hodge, Station Bill Poster.

George M. Tuttle, Crayon Advertiser.

Lambert Hayman, Soap Artist.

The Exhibition

James E. Cooper, General Director in all Departments.

Henry Barnum, Manager.

Lewis Hedges, Assistant Manager.

M. F. Young, Treasurer.

Charles Jacobs, Assistant Treasurer.

W. G. Crowley, Press Agent.

P. Harris, Special Manager.

William Simpson, Secret Service.

R. N. Cooper, Master Mechanic.

Doorkeepers: J. E. Cooper, E. J. Cooper, R. N. Cooper.

R. S. Ticket Sellers: J. T. Crossley, W. Elder, J. E. Cooper, Jr.

R. S. Doorkeepers: Sanford Lent, Samuel Brown.

H. G. Van Buren, D. R. Doorkeeper.

Homer Davis, B. S. Advance Agent.

Fred. Sutherland, C. T. Advance Agent.

The Equestrian Department

Nathan Austin, Equestrian Director.

Robert Ellingham, Naitre de Cirque.

Charles W. Fish	William Dutton	John Patterson	Whimsical Walker
James Murray	William Bachelder	Charles Bliss	Eddie Snow
George Bliss	Ben Snow	Louis Mette	Louis Snow
George Lair	Fred. Runnels	James Campbell	Jerry Bell
James Messenger	Awati Katsnoshin	James Donavan	Nicholas Lawrence
Adolph Livingston	W. O’Dale Stevens	N. Lawrence	Geo. W. Kline
George Austin	Geo. W. Johnston	William Hayden	William Elder
Geo. Arstingstall	Thomas Ward	John T. Crossley	William Conwell
Charles O’Brien	William Devine	William Cary	Charles Ellis
Theo. Ferris	Al. Still	C. L. Lanahan

M’me D’Atalie	M’me Cordona	Linda Jeal	M’me Devine
Miss Jennie Livingston	Miss Hattie Lawrence	Miss Lucy Devine	Miss Devine
M’lle Eva	Mrs. A. Still

In Charge of Wardrobe: Miss Kate Lengel, L. P. Mercer, H. B. Hodge.

George McFall, Padder. Assistants: G. Clark, H. Bower.

George Staples, Master of Properties.

Assistants:

George Levering	William Hill	John Woods	Jacob Wahl
M. J. Durkin	Michael McKenna	Charles Blackman	Eugene Stanton

The Band

Prof. James S. Robinson, Leader.

George Gustin	Albert Haupham	Emil Schmidt	Jule Raybold
William Higgins	John Griffis	Charles Powers	George Devine
Herman Newmeyer	William Robbins	Joseph Nolte	C. C. Beedle
George Edson	PeterKrackehl	Charles Shoenthal	Lewis Huber
George Legay	George F. Oakley

Scotch Bag-Pipers: Robert Ireland, Angus Rankin, D. K. Anderson

The Programme

Subject to variations according to circumstances.

The immense Double Company in Two Rings, presenting an array of startling performances unparalleled in the annals of the Circus from the earliest period.

Great London Circus, Ring No. 1. International Circus, Ring No. 2.

Preceding the grand opening, a specially selected and appropriate Overture will be played by James Robinson’s original British Band.

(Special) Act No. 1: Gorgeous Spectacular and Animal Entree, introducing noted artists of the company and affording a Panoramic Scene of rare splendor.

Act No. 2, Ring 1: Great Trained Elephants. The famous six “London” Elephants in their marvelous performances, introduced by their trainer, Prof. Geo. Arstinstall.

Act No. 2, Ring 2: The Famous Trained Oxen. The only perfectly educated Animals of the kind ever seen in a circus, introduced by their trainer, Prof. G. W. Johnson.

Act No. 3, Ring 1: Aerial Tight Rope. The acknowledged champion of all, M’lle Eva.

Act No. 3, Ring 2: Astonishing Japanese Juggling by the most renowned artist alive, Prince Awati Katsnoshin.

Act. No. 4, Ring 1: Grand Champion Tumbling Act. A matchless performance by the most distinguished members of the company led by the “London” Champion, James Murray.

Act. No. 4, Ring 2: Grand Champion Tumbling Act. Matchless performance by the most distinguished members of the company, led by the “International” Champion, Fred. Runnels.

Act No. 5, Ring 1: Grand Principal Horsemanship. America’s Finest Trick Rider, William Dutton.

Act No. 5, Ring 2: The Bounding Jockey. The astonishing bareback rider, Charles W. Fish.
The Celebrated American Jester, Nat Austin.

Act No. 6, Ring 1: Extraordinary Feats of Strength. The male and female representative muscular giants of the world, Madame D’Atalie and James Messenger.

Act No. 6, Ring 2: Marvelous Acrobatic Feats. By the only, the unrivaled French Family Davene, whose equals do not exist.

Act No. 7, Ring 1: The “Three Nations.” Being a charming and skillful Equestrian Act representing Italy, France and Spain, M’me Geronimo Bell.

Act No. 7, Ring 2: Equestrian Two Horse Carrying Act. Difficult and Picturesque Bareback Equestrianism, M’lle Eva and Sig. Bell.

Act No. 8, Ring 1: The Dancing Globes. A unique and amazing exhibition of Pedal Balancing and Juggling, introducing also the Animated Table and Mystic Cross, by the Champion of the world, W. O’Dale Stevens.

Act No. 8, Ring 2: Scotch Athletics. A rare exhibition of High Kicking, Vaulting, the Standing and Running Jump and kindred divertisements, by the renowned Messrs. Crossley and Elder.

(Special) Act No. 9: Introducing the Baby Elephant.

Act No. 10, Ring 1: The art of Indian Club Swinging by the celebrated adept, James Messenger.

Act No. 10, Ring 2: The Two Comiques, by Ben and Eddie Snow.

(Special) Act No. 11: Grand Principal Equestrian Act. The world’s wonder, Senoritta Adelaide Cordona, the most accomplished horsewoman of the age, going through a Magnificent Performance on a bareback Arabian Steed.
The Original and Only Irish Clown, Johnny Patterson.

Act No. 12, Ring 1: Thrilling Sights in Mid-air. Sensational and Wonderful Double Trapeze Acts, daring leaps, aerial Somersaults and giant Swings by the supreme Champions of America, the Lawrence Sisters.

Act No. 12, Ring 2: Thrilling Sights in Mid-air. Marvelous and Startling Lofty Gymnastics, introducing hair raising specialties and incredible novelties by the Supreme Champions of England, The French Family Davene.

(Special) Act No. 13: Supreme Principal Bareback Equestrian Act. The reigning monarch among all known bareback riders, the abundantly renowned Charles W. Fish, displaying more skill, grace, intrepidty and dash than were ever before witnessed in a ring.
The Great English Trick Clown, Whimsical Walker, unequaled on either continent.

Act No. 14, Ring 1: Ancient Roman Sports. The Classical “Brother Act” by the acknowledged Greatest Artists of America, the Three Snow Brothers.

Act No. 14, Ring 2: Ancient Roman Sports. The Classical “Brother Act” by the acknowledge Greatest Artists of Europe, the Three Leotard Brothers.

Act No. 15, Ring 1: Hurricane Four-Horse Act. Senorita Adelaide Cordona, Queen of the Arena, riding and driving her four Grey Horses at the same time, a performance in which she is unapproachable.

Act No. 15, Ring 2: Terrific Hurricane Hurdle Act by the Wild Brazilian Horseman, Senor Don Geronimo Bell.

Grand Finale, (Special) Act No. 16: The $10,000 World’s Champion Battoute Leaps. An unparalleled display of leaping strength by the entire male portion of the Company, introducing more Double Somersaults than were ever previously presented in a ring in the history of Circuses. The world’s great leaper, William Batchelder, will lead the distinguished corps.

Mechanical Department

Reuben Cooper, Master Mechanic.

Blacksmiths: Daniel Henry, Patrick Kelly.

Saddlers: Thomas Reynolds, John Williams.

J. S. Moore, Carpenter.

Peter Smith, Ironworker.

The Electric Light

Prof. M. E. Sherman, Director and Electrician.

Jule Meredith, Assistant Electrician.

John Lewis, Engineer.

Fred. Dickerson, Fireman.

The Caliope

Thomas King, Musical Director.

A. Guy, Waterman and Fireman.

Chandeliers

J. C. Douglass, Superintendent.

Assistants: Theodore Ott, John Hall.

The Menagerie

Prof. G. W. Johnston, Superintendent.

Alfred Still, Assistant Superintendent.

Mrs. A. Still, Panther Performer.

A. Still, Tiger Performer.

Theo. Ferris, Lion Performer.

C. F. Lanahan, Hyena Performer.

Cage Men:

C. F. Lanahan	D. G. Kline	A. Still	Theo. Ferris
John Hashfield	John Allen	James H. Mills	William Owens

Camels: George Reed, Stephen Stanford.

Ponies: John Rivers, John K. Stark.

Elephant Department

Prof. George Arstingstall, Superintendent.

H. H. Copeland, Keeper Baby Elephant and Mother.

Prof. G. Arstingstall, Trainer and Performer.

Keepers: Henry Morgan, John Martin, Walter Decker, William Smith.

The Canvas

Homer Silvey, Superintendent.

Albert Cole, 1st Assistant Sup’t.

James Kingery, 2d Assistant Sup’t.

Joseph Lannan	Charles Choreman	Frank Wilsher	James Fletcher
John Allen	Charles Reed	John Kelly	Albert Minor
Jacob Chouning	David Hulte	M. Dantz	J. H. McKegg
Charles Elmore	Oliver Cole	H. Hooker	Wm. Hall
Geo. Stevens	Geo. Rease	Geo. Holton	M. Anspach
Thos. Muntz	J. H. Grimm	Frank Walters	Andrew Abendroth
Wm. Aakins	Thomas Dolan	A. Trafford	Jas. McClosky
M. Nolan	Charles Frost	Frank Wheeler	Wm. Brooks
John Meyers	Charles Miller	Wm. Cronin(?)	M. Dougherty
James Connor	C. Richards	Wm. Austin	Thomas Priest
D. Sherwood	Walter Willis	John Mitchell	James Edwards
Ralph Luprett	Thomas Burns

The Stables

James Fuqua, Superintendent.

Si. Porter, Assistant Superintendent.

Thomas Lynch	James Roberts	Andrew Brimm	William Scott
Frank Mead	Clark Knapp	Charles Butler	Charles Stickney
John Carr	Andrew Johnson	John Reynold	Arnold Burch
Al Burdick	James Beagle	William McCall	David Stephens
William Reeze	C. W. Meek	James Eagles	Augustus Rumsey
James Loyd	Harry Mills	Darwin Bruzie	Fred. Hilton
William Riley	John Arthur	James Beales	Henry Haddock
Joe Hamilton	John Murphy	Peter Anderson	Thomas Knash

Railroad Department

Byron V. Rose, Master of Transportation.

William Simpson, Master of Transportation.

Curley Hensinger, Assistant.

Train Watchmen: George Stocking, Henry Plummer.

Percy Manders, in charge of Sleeping Cars.

Porters: Daniel Loder, Austin Stocking, John Murray, Henry Plummer, William Plumer.

Great London Hotel

Jason Robbins, Proprietor.

Cooks: Henry Sanderson, C. C. Cook, H. Bendell, Wm. Iden.

Waiters:

James Gray	Edward Bennett	J. B. Webb	Edward Shere
Edward Wheeler	C. H. Kelly	F. Butler	Thomas Star
W. Bennett	Robt. Benzie	A. Combs	H. Clinton
John Hall	A. Y. Runyon	Wm. Little	Jacob Hoops
F. Dolway	Charles Kelly

The Privileges

James L. Hutchinson, Proprietor and Director.

The Annex Exhibition

Edward C. Kohl, Manager.

The Tent used was a seventy foot round top, with a thirty foot middle piece. Twenty paintings, constituting the first “double-decker” display ever placed before an exhibition of this character, ornamented the front daily.

Orators: E. C. Kohl, D. Hertzog.

Ticket Sellers: Wm. Roberts, Frank Drew, Frank Blackman, M. F. Coleman.

E. T. Josephs, Doorkeeper.

Wm. Horner, Master of Canvas.

The Band

M. F. Saxon, Leader.

Willis Flanders	John Heath	William Flatt	George Howarth
Charles Baker	Thomas Arrowsmith	William F. Norris	John Cassus
George Ellsworth

Attractions

Miss Myrtle Corbyn, The Four-legged Girl.

Isaac W. Sprague, The Living Skeleton.

George Payne, The Armless Wonder.

Solomon Stone, Mathematician.

Amelia Hill, The Fat Girl.

Adelina, Circassian.

Zuniga, From the Bayou Teche.

E. Corbyn, Long-bearded Man.

M’lle Victoria, Long-haired Lady.

Texas Jack, The Crank and N. G. Man.

Wild Harry, The Dead-shot Marksman.

Master George Ellsworth, Bayonet Exercise.

Signor Navaro, Magician and Ventriloquist.

Pearly Zuluti, Albino.

Francisco Pefrinella, Performing Monkeys.

John Cassus, Performing Birds.

Magnificent Models of Horrors.

Canvas Handlers: J. L. Hampton, Eugene Rosenberg, John Lee, George Goodell.

Confectionery Department

L. L. Jarboe, Manager.

Outside Stands: John C. Tutt, Isaac Gibbons.

Menagerie Stands: Wm. Breen, Rudolph Gessley, Frank Blackman, William Roberts.

The Concert

John Patterson, Manager.

Ticket Sellers:

M. F. Coleman	Frank Drew	Wm. Roberts	Frank Blackman
Solomon Stone	James Donahue

Orchestra:

C.C. Beedle	Albert Haupham	Charles Powers	Herman Neumeyer
Peter Krackehl	Leo Legay

The Ususal Programme

Subject to changes, as circumstances dictate.

Terpsichorian Art Illustrated, James Donahue.

Serio-Comic Melodies, La Belle Pauline.

Airs from Erin’s Isle, John Patterson.

Artistic Songs and Dances, McPherson and O’Neil.

Gems from the Operas, Daisy McFadden.

Plantation Melodies, Sawyer’s Jubilee Singers

The world-famous Pantomime, “Humpty Dumpty,” introduced under the personal supervision of the great and oly Robert Butler, with the following cast:

Humpty Dumpty, Robert Butler.

One, Two, Buckle my Shoe, Mons. Davene.

Richard Deadeye, James Donahue.

Mons. Exquisite (a Fop), M. O’Neil.

Jumbo Jum (a Colored Man), M. McPherson.

Goody Two Shoes, La Belle Pauline.

Tom the Cat, Tony Lengel.

The Grand Finale. The Leap for Life (from top of Centre Pole to Net), M’lle Latour.

Outside Ticket Department

Frank Drew, Manager.

Ticket Sellers: William Roberts, Frank Blackman.

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