Chapter I. The Band Begins

There was once a boy, so the story goes, who died and went to heaven. He was a good little boy, as may be inferred from that fact. When he got to heaven St. Peter put him through his catechism and he came out O. K., you may be bound. Then the door-keeper, of paradise asked him what sort of a show Barnum had this year.

“Barnum!" repeated the good little boy. "Who is he, Mr. Peter?"

“Who is he?" demanded the saint, in amazement.

"Yes, sir."

"And do you mean to say you've just come from down there and have never seen Barnum's show?"

“If you please, sir," said the good little boy, was never to any show but the stereopticon of the Holy Land and the panorama of the Bible."

The good saint grew crimson with wonder.

"Never to a circus!" he gasped.

A circus!" repeated the good little boy. "What is that?"

St. Peter's indignation was too great for words. He coughed, spat, blew his nose and looked wild. Then he took the good little boy by the nape of his neck and set him outside the gate.

“Git!" he said sternly, “you're too good for heaven. You'd make the angels ashamed of themselves, you would.''

And that little boy, who is too good for heaven and not bad enough for the other place, is now a ghost, with no place to rest on but telegraph wires and other aerial places; a nuisance to himself and all who know him.

I do not print the above veracious story as a warning because I do not think it necessary to warn any American boy against being too good, at the expense of the circus. But I merely desire to show what a fool a boy can be. There was one, now, who was too good to live and too good to die. Suppose he had taken the circus in, how much more satisfactory it would have been to him while he was alive and how much better off he would be now?

I remember when I was a boy, you couldn't have kept me out of the circus by chaining me up in a cave and locking the door. I would have got out, take my word for it, and if you had deprived me of the essential quarter for the ticket wagon I'd have carried water for the dressing-room, or dodged the door-keeper, or crept in under the canvas or -

But why prolong the alternatives? As the Irish gentleman remarked on his death bed in regard to his wake:

“You bet your life I'll be there."

I always pity the people who have so much to say against the circus. What poor creatures they are to look at, with their skinny, solemn faces and their rusty black suits! I believe the cause of their hatred of the circus may be found in their envy of the clown. He never looks dismal, he don't dress in rusty black, and who ever yet saw a clown who was not fat enough to kill?

The beauty of the circus is that everyone can understand it, deaf and dumb boy can enjoy it, and a blind man could revel in music and laugh at the clown's jokes. Youth and age, irrespective of nationality, can feast upon the splendors of the sawdust circle and understand it all. If you go to the play and don't understand what the actors are saying you have but a poor time of it. But what does it matter what they say at the circus, as long as they do only half of the things they promise on the bills.

Indeed, they never do more than that. It wouldn't be fair on their audiences. Such an unexpected event as a circus coming up to its promises would, I am sure, be fatal to the majority of its spectators. Enough is as good as a feast, but too much is only good for the hospital and undertaker.

The circus is of very ancient origin. Away back in the dark ages, sports in the ring entertained the heathen peoples of the earth. Combats of wild beasts and of men were the most popular form of entertainment in Rome. In Greece feats of strength and skill in the arena gathered a whole nation to the famous Olympian games. Go where-ever you may, in the savage fastnesses of Africa even, and you will a circus of some sort. In Europe, Asia and Africa are the remains of great amphitheatres in which clamorous, thousands used to applaud just as modern audiences under Barnum's or Coup's tents applaud to-day. The only difference between the past and the present is that the modern circus is a work of art, while the old one was not.

It is about this work of art that I am going to make a book. I am going to tell you all about its mysteries; about those beautiful women who can spread themselves over ten horses, and those lovely gentlemen who swallow swords and play with jumping over twenty elephants at a time. You have paid your half dollar to see the front of the show many a time. Now, for half the money, I am going to take you behind the scenes.

And, if you consider what you see worth more than you pay for it, you can send your diamond rings and other souvenirs to me at this office. I am a modest man, but on this occasion only I will consent to become a public character, because I know I will deserve it.

Aha! There goes the band. Now then, ladies and gentlemen, boys and girls, all ready for the grand entree. Hurry up there, please. Don't stop at the lemonade stand. A man did yesterday and dropped dead. The coroner discovered that his painful demise had been caused by the discovery of a real lemon in the bowls, and I don't want anything to happen to you till I am through with you. “If you survive by that time, you will be even lemonade proof," says the printer's devil (who is a regular circus goer), looking over my shoulder. But he is an impudent little rogue, and the champion liar of the Fourth Ward. Nobody who knows him believes what he says and I hope you will not but judge for yourselves. Here is something for you to judge from for a starter.

Chapter II. The Circus in America

A history of the circus in America, which leads the world in this sort of thing, shows what Yankee enterprise has accomplished in one direction. The people who view the mammoth affairs of to day must know that they witness sights which previous generations were not privileged to see at any price. The globe has been hunted over from east to west and from north to south for beasts and birds, curiosities and wonders to make the circus complete, and some object from every clime may be seen.

Seemingly there is nothing that will attract such crowds or in which so much delight is taken as the circus. People will go miles to see it and never tire of it. It is unlike any other form of amusement, and is popular with all classes. There are not the comforts in the seating accommodations that are afforded at the theatre, but everybody goes for a good time and will bear the crush without complaint.

Nowhere else can such a jolly multitude be found. The crack of the ring-master's whip and the jests of the clown are, apparently, cures for every care. The younger folk hail the coming of a circus with as much joy as they do the approach of Christmas. And the older folk do not go simply because it pleases the children. They look, listen and laugh because they enjoy it. In short, a circus is calculated to entertain the masses. To say that the circus is distinctively an American institution would not be going much out of the way, for in no country is it conducted on such an extensive scale as in this. The circuses of Europe are mere side-shows compared with the mammoth affairs that pitch their tents in almost every city of the Union each year.

The first circus started out from Putnam county, N. Y., in 1827 or 1828. The firm which made the venture was known as Angevine, Titus & Burgess, all of whom have long since been called to their fathers. Putnam is peculiarly a circus county. The farmers and business men of the present day have been or still are interested in circuses. The people talk circus, breed circus horses and send out from their midst circus proprietors and performers.

The pioneer circus had no tent nor seats. That was before such things were thought of, and the original show was a very primitive affair. Nor were animals considered necessary adjuncts to the show, although subsequently the firm secured an elephant and it created a sensation. It died in New Brunswick. The programme of the circus when it was organized consisted of feats of strength, such as lifting heavy weights and holding at arm's length, leaning and riding with out a bridle. A vocalist sang comic songs and a fife and one or two drums furnished music, or more properly speaking, noise. The company did not comprise over eight or ten persons and as many horses. The exhibitions were given in barnyards and barns wherever a cluster of houses suggested that a crowd might be called together. The people stood up, and the taller ones, of course, had the best of it. The prices of admission ranged from 6d to 2s, and in many instances were adjusted to suit the pockets of small boys and impecunious individuals. No performance was given in the evening, as there was no known way of securing light.

The idea of the advance agent was not thought of until later. The company traveled overland, unannounced beforehand, and when a short distance from the stopping-place, halted to prepare for the "parade." The members adorned themselves in their toggery, and, headed by the "band," swept down on the astonished natives. A loud-voiced person would proclaim that a show was to be given, and the people would come from the fields and houses to find out what it all meant. It is imagined that there was a hurry and bustle in scraping up sufficient money to "see the thing," and when the crowd had reached proportions large enough the circus would begin. The singer and the man who beat the bass-drum were special objects of admiration, and they could not make too much discord to suit the throng. If seventy-five dollars were taken in the receipts were considered heavy.

The company would put up at a farm-house or tavern, and next morning at daybreak start on for the nearest hamlet. What people must have thought when the first circus came among the ??? can better be conjectured than told, but it is safe to say that it afforded them something to talk about for months afterward. Pad-riding, ??? standing upright on a wooden platform on the back of a horse, was introduced after a while and proved a great feature.

The circus continued to increase, but it was not until 1832 that [a] tent was used. The first tent was an "80-foot round-top," and was erected at a point where the Bowery and Grand street intersect, which was then away out of the city. In this tent seats were supplied, and the event marked an epoch in the circus business. The shows began to increase and competition was the means of adding to their merit and extent.

Managers were not long in discovering that it was essential that a man should be sent ahead to announce their approach. The agents, however, kept only a day or so in advance, and they were expected to talk people into a frenzy of excitement over the promised treat. Later, where practicable, brief notices were put in the newspapers, but in those times papers were few and far between, and were seldom printed oftener than once a week. It was not until a long while afterward that bills were used.

Shows always halted outside of a town to prepare for the gorgeous entrance. Vaulting and similar features continued to be the main features for years. A man named Levi North used to turn one hundred summersaults in succession, and his fame spread from one end of the land to the other. Jumping from a spring board and tossing a cannon ball drew plaudits from the spectators. The shows in these early days lasted about an hour and a half. When, finally, an elephant became part of a show, people, young and old, would follow it for miles.

It was such a great prize that it was kept closely blanketed to hide it from unprofitable eyes. If a fat boy happened to be with a circus, he, too, was kept out of sight. Next to an elephant, a fat boy was the biggest attraction. It was altogether too early for midgets, and their worth was not appreciated until Tom Thumb demonstrated how big a little body could be. At last, when evening performances could be substituted, the tents were lighted with flambeaus, which flickered and smudged and emitted a great deal more smoke than light. In the course of time domestic animals, such as foxes, rabbits and ???ons, were put in cages and exhibited.

After years had passed away, the old Bowery Amphitheatre in New York was opened, and here the only really good show of the period was given. The amphitheatre was, it may be said, the cradle of the circus in America. It was conducted by John Tyron, and in the winter two or three companies which traveled in the summer would be combined in it. Here Barney Williams, afterwards famed for his Irish characters, now dead and gone, sang comic songs and executed plantation or nigger dances. He was a prime favorite with the crowds. Other attractions were the Stickney family and the Mardigans. The first clown of note - John Gosson - appeared in the amphitheatre. He was a comic knockabout clown.

The clown soon became a great card, and no circus was complete without one. Gosson alone was sufficient to fill the house. Dan M??? emanated from the amphitheatre, while Seth Howes, rich and retired, was a four-horse rider, and John Nathans and George F. Bailey, both men of wealth, were performers in it. In 1840 Herr Dresbach drove a lion harnessed to a car across the stage of the old Bowery theatre, and created a furor. It was he who introduced wild animals in America, and a rude cut of a lion, executed by a man named Booth, now in possession of Mr. James Riley, the Spruce street printer, was used in printing bills for the performance. These bills were the first issued for the show business. Van Amburgh took the cue from Dresbach, and began exhibiting animals. He used to go into a den of lions, and became celebrated. His fame was sung in variety shows, and the air was whistled on the streets and is as well known at this time in Germany as in America.

About 1840, John Robinson, the great four-horse rider, startled the country by his miraculous feats on the bare back of a horse. In the same year Van Amburgh took his circus to England, and made a amount of money. In 1850, or thereabouts, the price of admission was put up to fifty cents, and "reserved seats," which were simply common seats with a piece of carpet spread over them, were offered. Seth Howes went to London with his circus in 1856 and took the British people by storm. His advertising bills, though would now be considered commonplace, were regarded as wonderful. They were printed in colors and where posted drew vast crowds. People would stand half the day and look at them. They wondered how such great sheets could be printed, and did not understand that they could be struck off in sections and be put together afterward. They thought they must be run off on a colossal printing press. The streets were actually blocked by people viewing them, and the authorities were, obliged to order them down.

Since 1860 the improvement in circuses has been great. In that year Lewis B. Lent, proprietor of the New York circus, which exhibited on Fourteenth street, commenced traveling by rail. The innovation was an important one, and the other circuses were eventually compelled to follow. Van Amburgh's was the last to leave the "road." Lent's original train consisted of twelve cars. He had no menagerie, but gave a fine ring show. Mme. Dockrill. first appeared in his circus. He did much to elevate the business. He compelled the performers to wear proper attire, and would not permit vulgarity in speech or action.

Things have changed greatly since Lent's circus train was whirled the country. Big circuses nowadays require three trains aggregating forty-five cars. Besides from three to five advertising cars precede them, the first by four or five weeks. Until late years wagons were used for this purpose, but these were not fast or magnificent enough. The catapult and electric light are late additions. The employees are fed on the ground by the circus managers, and only the principal performers go to a hotel. Where forty horses used to be the limit from two hundred to three hundred were employed before the circuses took the rail. One tent in use is 50x200 feet in dimensions. The expenses of a big circus amount to $3,500 a day. The largest amount taken in, in a single day, is $14,000 - the receipts of a show at Pittsburg, Penn., in 1882. It is often the case that three performances are given in a single day - in the morning, afternoon and evening. And the side shows are a great deal larger than the earliest circuses.

The advertising has grown to be the biggest part of a show. The size of the first bill was 30 by 40 inches, and now some of them are fifty times as large. It is almost as great a sight to see the bill-boards as it is to see the performance. It has reached that point where a Fourth of July celebration is not a much greater event than the appearance of a circus.

In some mill towns, like Paterson, N. J., the mills stop work the day the circus shows. The railroads run special trains with a coupon for the circus attached to the ticket, people take a holiday and come fifty and sixty miles and in the evening the showmen send up a fire-balloon, discharge cannon and set off fireworks. There are not as many shows now as there were years ago. Less than twenty, in fact while during the war there were forty, with only half the country to exhibit in. The larger ones have swallowed the smaller. It is an era of monopoly in amusements as well as in business.

Every circus manager seems bound to see how extensive a herd of elephants he can collect. One has twenty-three while a second has, twenty-one. There are at present seventy-seven elephants in the country. The agricultural districts have everything to do with the prosperity of the circus. Good crops mean good business and vice versa.

Old showmen say circuses have about reached their limit. They are too large already, and in time they will return to one large ring. Three rings do not give satisfaction. People cannot watch them all at once. They are too much of a good thing and therefore no good thing at all.

A word about circuses in foreign lands. There is none half the size of the large circuses in America, although Meyer's in Germany is fair. England never saw one that could equal Howe's old show, and to this day circuses are given in the open air at fairs in that country. The people form a ring, and a collection is taken.

Chapter III. Famous Yankee Showmen

There is a little section of country, situate partly in New York and partly in Connecticut, which can lay claim to being the birthplace of nine-tenths of American showmen, ranging in prominence from "the great and only" P. T. Barnum, down to the vaulter in spangles who appears in circus-rings daily and nightly seven months out of the year for an almost starvation salary. This section, which has become famous for its showmen, as has Kentucky for its blue grass and whisky, comprises a portion of Fairfield county, Conn., and Putnam and Westchester counties, New York, and the towns of Danbury, Bethel, Ridgefield, Brewsters, Southport, North Salem, Norwalk, all within the radius of a few miles.

If you are desirous of finding out what showmen came from the territory I refer to, just collect show programmes, posters and streamers until you exhaust the supply; then strike out the names of Adam Forepaugh, John Robinson, John O'Brien, Burr Robbins and Batchelor and Dorris, and you will be about as correct as though having possession of the birth sheets of all the family bibles to be found between the Atlantic and Pacific.

The towns of North Salem and Somers lie very close together, and both claim the distinction of having been the birthplace and home of Hackaliah Bailey during his natural life. This father of showmen used to account for this claim by asserting that he was born midway between the two towns, and during early life never missed "training day," at either point. Hackaliah Bailey owned the first elephant ever brought to America. How it came into his possession is not clearly developed, and when the oldest animal men and menagerie managers are questioned on this score they frankly admit the question is one which cannot be answered, and the invariable reply is, "that he got it and made cart-loads of money with it." Barnum, who later on owned an interest in the elephant, is in ignorance as to how Bailey first obtained it. He saw in "Bess" a fortune, and so began exhibiting her. He had no canvas, and so gave his exhibitions in barns, traveling through the country by night and showing by day. The people came in crowds to see the first elephant in America, and the result was that her owner became exceedingly well-to-do. Barnum, who was at this time coming into some prominence, purchased a half interest in "Bess." He and Bailey could not agree, and neither would sell his interest or purchase that of his partner. Bailey one day became vexed, and exclaimed:

“I can settle our difficulties by buying a cannon and shooting my half of the elephant."

By way of disposing of "Bess," it may be stated that she was mysteriously killed either in Massachusetts or Rhode Island. Her first owner retired from the show business and erected a hotel in Somers before his death. It was called the Elephant Hotel, and a stone elephant was placed out in front as a sign.

George I. Bailey was the legitimate successor of Hackaliah Bailey. He started in life as a clerk in a country. store. This employment proved irksome, and he drifted over to Danbury. Here he met and fell in love with a Miss Turner, the most beautiful woman in all Connecticut. She was the daughter of it showman, and in due time Bailey wooed, won, and married her, and cast his lot with the Turners and their clouds of canvas. As his partners died off and dropped out, he gradually obtained control of the business. He managed at different times many shows and eventually formed a partnership with John J. Nathans and Lewis June, which finally amalgamated with Barnum.

Jared Q. Quick, the first man to take an American show to foreign lands, was from this section. He controlled a splendid circus, went abroad, exhibited it extensively and died very wealthy.

Not many miles north of this showman's paradise is Brewsters, which was formerly known as Sodom and Southeast. It is the birthplace of the Howes family. Seth Howes is still living, and has rebuilt the old family mansion, using the old timber whenever possible, so dearly was he attached to the old home. It was he who brought the great European show to America in 1864. It is still remembered as headed by the finest street procession ever seen, entirely eclipsing Barnum's best efforts. One feature was a globe representing the earth. Upon this globe was a throne on which rode a beautiful young lady who represented the Goddess of Liberty. At her feet was crouched a lion and it was advertised as the British lion passive before America. John Nathans also figured in this enterprise.

Nathan Howes was also widely known. He made money with circus and invested it in real estate at Racine, Wis. He died about two years ago, leaving two sons, twins, Egbert and Elbert. They were the original owners of the London Circus. They took the first American circus to England and brought back the London Show, the remnants of which are now merged in Barnum's. Both brothers reside in Brewsters. They resemble each other so closely that intimate friends cannot tell them apart. From early youth they have dressed alike, and there are many ludicrous incidents connected with their lives. When on the road, landlords will assign one brother to a room, and, when the other calls, asking for a bed, the landlord feels insulted, and demands to know what is wrong with the bed he was just shown to. If they take their meals at the same table and at different hours, the waiters all look aghast at what they regard as one man's great appetite. It is said that one of the brothers, after a long courtship plighted his troth to an estimable young lady. Next day she chanced to meet the other brother, and, mistaking him for her intended, caressed him as only lovers can caress. He was shocked, and, but for the timely appearance of the rightful suitor, would have deemed the beautiful woman insane.

James E. Kelly, the banker, was one of the later owners in the European Show. He, it will be remembered, married a daughter of Daniel Drew, and did a large business at his home in Brewsters. He was reduced almost to penury by a dishonest cashier, who embezzled heavily and went to Africa to fight Zulus.

The Maybie brothers, Jerry and Ed., were from Brewsters. They were successful showmen, and their names are household words in the West. They were the first persons to organize what is known as "Steamboat Shows." A number of years ago the Maybies purchased a steamboat and transported their circus up and down the Mississippi, Missouri and Ohio and other great western rivers, exhibiting at the principal towns and cities. They are now at Delavan, Wis., where they own large flouring mills and a great deal of real estate.

The Townsend family also hails from Brewsters. They comprise David, Putnam, Charles, Albert, Jacob and Jacob's son, Frank, all well known to the staked sawdust ring. They have been trainers of animals, vaulters and side-show men, and the majority of the family are still [living?].

Ridgefield, Conn., is the home of Lewis June. He is the descendant of what is known among all of his profession as the most honorable and upright family that ever was under the clouds of the canvas. His entire family were showmen, and his uncle was a member of the firm of Angevine, June & Titus, the successor of Angevine, Titus and Burgess, of which mention was made above. His brother, now dead, was noted for great personal beauty, and could not walk down Broadway without being the target of all eyes. It is said that people visited his circus as much to see him as the performance.

Lewis June's lines of business is that of advertising. To him the honor is due of having brought circus advertising from infancy to its present stage. When he entered the business, poster and bill-board advertising was unknown. At first he carried bills, something like the "dodgers" of to-day, in a pair of saddle-bags, on horseback. He was always passionately fond of hunting, and when traveling ahead of his show as advertising agent, carried a rifle, and shot squirrels by the way. To-day he has a token of those good old times, in, the shape of a lap robe made from the tails of squirrels which fell by his rifle while traveling. After carrying his bills in this manner for a time, Mr. June arrived at the conclusion that he would make use of one horse and a wagon. This departure was so successful that he speedily arose to a six-horse wagon, and then came a regular advertising and bill-posting brigade. Some years ago he designed and built the first advertising car. He is looked upon as the ablest hand at laying out routes for shows. He has taken combinations through every country of the world, and from his knowledge of foreign countries and cities is dubbed "the encyclopaedia'' by his friends.

Norwalk, Conn., was the home of Avery Smith, who made many thousands by catering to the public under a centre-pole. His father, Asa Smith, was also a showman. After keeping the road warm for many years with the wheels of his chariots and wagons, Avery Smith withdrew from his profession, invested largely in Newark, N. J., property, and died a few years ago worth over a half a million. One among the successful showmen of Somers was Mr. James Forshay, afterwards Superintendent of the Broadway street car line, New York.

In Danbury the Turners were born. The family comprised the father, known as old man Turner, to distinguish him from some western man of that name, and two sons, Napoleon and James. They were strong, athletic men, and acquired a worldwide reputation as showmen and performers. The Turner House in Danbury was built by them, and for many winters it was the great resort for showmen. It is said that the three came to violent deaths; one through throwing triple summersaults, he being the only performer who ever essayed this great feat. Cool Bertram who was identified with the Joyce Heth enterprise with Barnum, was also a Danburian.

Three miles below Danbury is the little town of Bethel, the birthplace of P. T. Barnum, George O. Starr, John Greenwood, Jr., and Fordyke Hitchcock. "The great and only" Barnum is too well known to require even passing mention. George O. Starr is now general agent for Bunnell's "Museum, New York. He made a name for himself as Barnum's press agent, and is considered the shrewdest and most efficient man in his line. John Greenwood, Jr., was associated with Barnum for many years. He was finally appointed Consul to Hamburg, where he died some years ago. Fordyke Hitchcock was long with Barnum as a manager in some of his many departments.

Southport, Conn., was the birthplace of the Bunnells, Samuel, John and George. All were showmen, and the former is dead. John Bunnell was the largest side showman in the world. He retired with a good round sum, and is now living in Southport directing his attention to the propagation and development of the finest fruits. George Bunnell was a partner with Barnum for several years, having charge of the museum department. At the present he has cut loose from Barnum and is pushing his own name rapidly to the front. He is proprietor of the museum corner of Ninth street and Broadway, and has another large branch in Brooklyn. To judge from his appearance and conversation, one would deem him an ordinary tradesman who feared that the wolf was hard by his door, and from the spectators at his museum and his bank account he would be set down at a quarter of a million. His residence at Southport is said to be the finest in Connecticut.

William Henshaw and James Shields, well-to-do -showmen, and Samuel S. Smith, known to his profession as "Sunday-school Smith," from his clerical appearance, are citizens of Southport. Lewis B. Lent,. proprietor of the New York Circus, and J. M. French, who formerly conducted the Oriental Circus, were born and bred in the showmen producing region of country above described.

Top