Figure 1.--This ia a behind the scenes look at Billy Smarts Circus in Engla, probablky in the 1960s. Kids enjoyed seeing the circus set up at the beginning of the local stand. |
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Circuses in the sence of equestrian and animsal shows date back to the Roman Empire. The modern circus dates to the late-18th century. England played a particulasrly important role. The Roman citcuses and the early European circuses focused on equestrian acts. Countries on the continent also made importat contributions. The three-rings and huge tents came from America. We notice portrits of the costumes worn by child performers in the circus during the 19th century. Picasso famously painted child performers. Child labor laws have restricted this agter the turn of the 20th century. The circus was hugely popular among children. We note large numbers of children who had their portrait taken wearing clown costumes in the late-19th and early-20th century . The single most popular one was the circus clown. Boys dreamed of running away with the circus. A few did. This was depicted in several movies, such as Peck's Bad Boy with the Circus. Going to the circus was a huge treat for children in the 19th and early 20th century. Zoos in the 19th century were still a novelty and many of the modern diversions for children had nit yet been invented. The circus when it came to town would stasge a parade through the center of town to get everyone interested. The kids of course could not wait ti see the asctul show. The big circuses preformed in te major cities. But there were also small circuses that brought acts to small towns. It has perhaps declined somewhat in popularity since World War II, in part because there are so many other recreational activities available to modern children. We do not have a general coyuntry circus page. We have pages circus pages on several individual countries such as America, Belgium, England, and Germany.
Circuses in the sence of equestrian and animsal shows date back to the Roman Empire. The modern circus dates to the late-18th century. England played a particulasrly important role. The Roman citcuses and the early European circuses focused on equestrian acts. Countries on the continent also made importat contributions. The three-rings and huge tents came from America.
We notice portrits of the costumes worn by child performers in the circus during the 19th century. We are not entirely sure they were circus performers. We suspect that many of these children performed in theaters. Picasso famously painted child performers. Child labor laws have restricted this after the turn of the 20th century.
The circus was hugely popular among children. Going to the circus was a huge treat for children in the 19th and early 20th century. Zoos in the 19th century were still a novelty and many of the modern diversions for children had nit yet been invented. The circus when it came to town would stasge a parade through the center of town to get everyone interested. The kids of course could not wait ti see the asctul show. The big circuses preformed in te major cities. But there were also small circuses that brought acts to small towns. It has perhaps declined somewhat in popularity since World War II, in part because there are so many other recreational activities available to modern children.
Circus costumes appeal to childrem. The single most important must be clouns, bu they are mot the only oners. We note large numbers of children who had their portrait taken wearing clown costumes in the late-19th and early-20th century. They were called pierrot costumes. The single most popular one was the circus clown. These were fancy costumes. We also note less expensive play costumes from sears. Creative mothers could make costumes. There was also the fun of putting on makeup. We think that clowns were more popular with boys than girls, but we are not sure about that. Age was another factor. Clowns scarred some younger children. We suspect that TV clowns like "Hoody Doody's Clarabel kept clowns populsr for a while. But after that we begin seeing fewer trick-or-treaters dressed up like clowns. We do see clowns at children's birthday parties. We are not sure how many children chose clown-circus themed costumes.
Children have been since early times involved with the circus in vrious ways. The most obvious way is as what might be expected, being taken to the circus to see the various attractions. In a time before television or even the movies, the circus was hugely exciting for children. The animals were a nig draw for children, but just one part of the circus excitement. The circus traveled by train. And upon arrival in the various circus venues there would a wonderful parade to the grounds where the circus ould set up. This gve the children a womderful preview of what the circus offered. And the little mites were soon begging their parents to take them to see the circus. Boys dreamed of running away with the circus. A few actually did. This was depicted in several movies, such as Peck's Bad Boy with the Circus. This of course rarely happened, but children were involvd in cicus acts. These were rarely children who ran away to join the circus. But there were many fmily acts who brought the children into the act as they grew up. Here the photographic record offers u many such examples.
The circus was invented in Europe. The name, but nothing else came from ancient Rome. The inventer in Britain was a notable equestrian that has served in the calvalry (18th century). The circus spread to Europe where more animals and attractions were graually added as more showmen got involved (19th century). Many countries made importat contributions. The American Barnum and Bailey Circus created the three ring extavaganza. While generally associated with Europe, many of the novel human acts that came to be associated with the circus were introduced by Chinese acrobatics. The European colonization of Africa brought many exotic animals which became some of the best-loved attractions of the circus. We do not yet have a general country circus page. We have, however, circus pages on several individual countries such as America, Belgium, England, France, Germany, Italy, and Russia.
America unlike Europe in the early-19th century had few cities and the urban areas that did exist were much smaller than those in Europe. This meant that there were no established resident circuses like thise that had begun operating in Europe. And America was costantly expanding pushing the frontier ever westward with new communities forming as the country expanded west. America was a largely rural, but not poor country. Americans tended to be more afflunt than Europeans even in colonial times. Thus there was money to be made for showmen, but to access that markets they had to become mobile, becoming traveling companies. This began even before the railroads. The major problem was a prforming venue. This required a large enclosed area. There were no stadiums in America at the time, even in the cities. Joshuah Purdy Brown (1802?-1834) from Somers, New York solved the problem. He was the first circus entrepreneur to replace hard to transport wooden structures with a large canvas tent (1825). The major performers did their act in one central 'ring' in the tent. The idea was quickly adopted by other traveling groups and became associated with the circus--the Big Top (1830s). A wealthy cattle dealer named Hachaliah Bailey (1775-1845) lived near Brown in New York. On a lark he purchased a young African elephant. At the time, people may have heard of elphants, but never seen one or even seen pictures of one. There were no zoos, photography hd nog been invented and lithography (proving images in books and magazines) was still primitive. Thus there was a huge market interested in seeing exotic animals and not just the children. Bailey began exhibiting his elephnt and found he could actully make money doing so. He added exotic nimals an soon had a trveling menagerie. Bailey's succes was noted and some of his farmer neigbors copied his success and began adding curcus acts. This all occurred mostly in the Somers area. A group of 135 farmers and menagerie-owners, mostly in and around Somers, decided to join forces and organize (1835). They formed the Zoological Institute which was a trust that included 13 menageries and 3 affiliated circuses. It was a kind of traveling-circus and menagerie monopoly. The American circus became a traveling tent-show combined with a menagerie and run by businessmen. This contrasted with European circuses mostly controled by performing families. Traveling in early america where roads outside the major cities hardly existed put real constrints on the traveling circus. You could not move an elephant by covered wagon or stage coach. And speed was a constraint. Taking weeks to travel between venues mean that a good part of the year would be spent traveling, not making money. This problem was solved by the railroads which began to criss-cross America. This meant that circuses could expand and even even large circuses could rpidly reach every corner of the country. Former museum promoter and impresario Phineas Taylor Barnum (1810-1891) formed an alliance with circus entrepreneur William Cameron Coup (1837-95). They founded the P.T. Barnum's Museum, Menagerie & Circus (1871). It was traveling show with a 'museum' at a time in wgich museums were only begining to appear in the larger cities. Barnum's Museum, included an exhibition of animal and human oddities. It was a hit and the 'Sideshow' became a virtually required part of any circus. And they began appearig at state and country fairs. Although when we think of circuses today, we think of Barnum and Bailey. Coup is largely unknow, although he played a mmajor role in the devlopment if the merican traveling circus. It was Coup who thought out a system of daily transportation by rail for their circus (1872). Another Coup innovations was the addition of a second ring in the Big Top. The circus by this time had become the sungle most popular form of entertainment in America. This was because of not only the acts and animals, but because it was mobile. Barnum and Coup's joint enterprise was the largest and most popular circus. Coup was intent on increasing the capacity of their tent which of course meant he could sell more tickets. Here there were structural limitations. The tents could only be so big. Thus the only way of expanding the tents was to lengthen them. This created a problem. Everything was vissible to the ufience in aound tent, but in a long tent there was no longer a clear view. Coup's answer was a second ring. Eventually a third ring was added (1881). Eventually even larger numbrs ppeared, but the three-ring circus was the industry stndard. Some purists complained, saying that the Anerican circus began focusing on spectacle over artistry. Circuses continud to remain the most popular form of American entertaiment for several decades. This gradually changed in the 20th centuries, first with the movies and then with radio and eventually television. Even so the circus continued to be popular through mid-century.
We do not have agreat deal of information about the history of circuses. They clearly date to Roman times as the term is a Roman one. The largest was the Circus Maximus in Rome. The major Roman circuses commonly involved combat and gladiators as well as horse races. In fact the kinds of entertaimnment today associated with the circus (exotic animals, acrobats, jugglers, and clowns)tended to be used beteen major events to keep the audience entertained. We are not sure to what extent circuses traveled, but the well established Roman roads made this possible to a greater extent than would be possible until the modern age. The Roman circuses were performed in a open air oval or circular showground (the Colliseum was oval). There were permanent stone tiered seating commonly flanking the edges. There was also traveling circuses that performed under a large tent. There is no direct connection between Roman and modern cicuses. After the fall of Rome, commerce declined and rads deteriorated. There was no rel way of transporting a circus. Individual entertainers including some with trained animals began to appear in markets and at festivals. Traveling entertaining groups which laid the foundation for the modern circus may have introduced by gypsies who traveled widely in Europe (14th-15th century). The first permanent traveling circus appears to have been estanlished by Philip Astley in Britain. His circus performed in both Brtain and the Continent (late-18th centutry). The circus became enormousy popular in England. Ashley introduced horses trained to do tricks. Cities began corstructing buildings to accomoidate them. London built the Hippodrome which was a multi-purpose theater. Antonio Franconi emerged as the founder of the French circus at about the same time as Ashley. Cicuses also appeared in North america. Joshuah Purdy Brown began using a large tent for his corcus (1825). Sevral Europeans founded importabt circuses: Giuseppe Chiarini (Italian), Jacques Toruniaire (French), Louis Soullier (French), and others performed throughout Europe and even traveled to Asia and the Americas. Soullier was impressed with Chinese acrobatics and brought them back to Europe (1866). These major circuses performed in Belgium and other small countries. Bouglione is the best known Belgian circus which began operating (1830). In addition to the major circuses there were many smaller circuses which had more limited performances , but which offered the children and adults and immediacy and close connectiin with the performers that can not be replicated by the larger circuses. !
The term circus was used in England well before the circus as we know it today existed. The term of course originated in Rome. John Wood was interested in Roman architecture and he knew that Bath had been founded by the Romans. He thus designed a number of Roman-style monuments to beautify Bath (18th century). The Circus Wood created was to be an area for sports, which were at the time developing in England. Wood's circus became a circle of town houses. The most famous circus in England is of course Piccadilly Circus. It is a famous London road junction and public space in the West End of the City of Westminster. Piccadilly Circus was built to connect Regent Street with the major shopping street of Piccadilly (1819). At the time a circus in England as derived from the Latin word meaning a circle, particularly an open space at a street junction. This meaning never was adopted in America. The circus in ancient Rome meant more than a circle. It was a structure designed for various kinds of exhibitions or shows involving shows, races, and other exhibitions involving horses and trained animasls. The connection with horses was particularly strong. This included horse, chariot races, and equestrian shows. Thus the term of circus was adopted for the shows becoming populsar at the time in England. And these shows initially had a very strong equestrian character. Philip Astley in London is commonly credited with founding the modern circus, although he never used the term. The first known performance was January 9, 1768. His show featured trick horse-riding into a ring which he called the Circle. Eventually the diameter of the circle had to be sandardized so that the show could accomodate various acts. It was set at 42 feet (13 m), which was the size of a circle or ring needed for horses to circle at full gallop. It was a competitor, John Hughes, who adopted the term circus. He set up his Royal Circus near stley's 'Amphitheatre of Equestrian Arts' in Lambeth, London. The early English shows combined with developments on the continent and Amerca developed into the modern circus. From the very beginning the circus had a special appeal to children. An English reader writes, " I saw the interesting HBC page on Belgian circuses. It reminded me of out family outings to see the circus, Like the Belgians in the photigraph, we also dressed up when we went on outings like that. Now we dress down."
While generally associated with Europe, many of the novel human acts that came to be associated with the circus were introduced by Chinese acrobatics. The European colonization of Africa brought many exotic animals which became some of the best-loved attractions of the circus.
Another popular entertainment for children in France is the circus. The modern circus was actually invented created in England by Philip Astley (1742-1814), a former cavalry Sergeant-Major turned showman. He served in Seven Years War and after the wr began to put his riding skills to work. As this proved popular, other animals and other cts were gradually added by different howmen. The idea soon spread to other countries. Equestians also led the way in etablishing a French crcus tradition, but foreign performers also toured France. The first Frenchman we know of was equestrian Jacques Tourniaire (1772-1829), but he is more associated with pergorming in Russia (1816). After he died, his sons estanlished a family trafition, performing in Siberia and then on to India, China, and America. The man most associated with the circus was another equestrian Louis Soullier (1813-1888), bu he also venturedto fireign countries. He managed Vienna's Circus at the Prater, biut then began touring, first to the Balkans. He settled in Turkey for a while. Mext he went to China and helped establdh the circus there (1854). He returned to Europe (1866). He brought Chinese acrobts with him. Until this time animal acts perdominated in circus performnces. Th Chinese performers were the origin of what became circus staples: perch-pole balancing, diabolo-juggling, plate-spinning, hoop-diving, etc to the Western circus. The American Barnum & Bailey Circus introduced "Greatest Show on Earth" and the three-ring circus to European audiences (1897-1902). This completed the evolution of the modern curcus which French children enjoyd in the 20th century. Th major cicuses tournd the big ccities. There were, hiweverm smaller troups thr performed in smaller cities and towns. he circus was a favioite activity for many French children for much of the 20th century. This began to change t the end of the century as entertiment interests and animal welfare concerns began to be raised.
The circus has roots in ancient Rome and medieval traveling entertainers. There was in the 18th century a tradition of equestrian shows in Europe, including Germany. Trick riders were performing all over Europe as well as America. Jacob Bates was an English equestrian operating shows primarily in the German states, but took his show even to Russia (1764-65) and America (1772-73). Other showmen (Price, Johnson, Balp, Coningham, Faulkes, and "Old" Sampsonbegan) organizing similar shows. This appears to have been the inspiration for Philip Astley (1742-1814) who is generally credited with founding the modern circus in England. There was, however, from the beginning a pan-European basius for the cirfcus. Astley was a retired cavalry Sergeant-Major who became a showman. The noted German equestrian Carl Magnus Hinné (1819-90) established circuses in Frankfurt, Warsaw, and Copenhagen. He even founded circuses as far away as St. Petersburg and Moscow (1868). He was followed by the Italian brother-in-law, Gaetano Ciniselli (1815-81). German and Italian names thius became strongly associated with Russia. The Gautier family in France founded a Scandinavian circus dynasty. The German-sounding Schumanns (actually Sweeds) became a familiar name in Denmark, although the "Danish" Schumanns are Swedish. The first French circus dynasty was founded by an Italian--Antonio Franconi. All these cross border relations meant that acts from each individual countrieds appeared and were emulated throughout Europe. Trained bears were, for example, a traditional sct in Russia. Many of these differenta acts were merged into the original equestian trick shows to form the circus. The traveling circus and menagerie reached its peak in Europe in the inter-War era (1920s-30s). This was especially the case in Germany. The innovative traveling enterprises of Krone, Sarrasani and Hagenbeck dominated the German market. Not all circuses were family enterprises. Many German cities had large circus buildings. Sarrasani had a building in Dresden. Krone had a circus building in Münich. Hagenbeck had a facility in Stellingen. This was not only the case in Germzny. There wsere four permanent circuses operating in Paris. European circus goers, at least in the big cities, began to expect a degree of comfort and sophistication compsrable to the theater. The traveling American circus with its tents began to impact Europe. The traveling circus and tent brought the circus to much larger numbers of Europeans that was possible with big city performances. In Germany and other European countries there were not only large traveling circuses, but also much smaller operations which reached into rural areas and small villages.
We do not know much the circus in Italy yet. We have found information about Maria Velente, a popular Italian circus and music hall performer durung the first half of the 20th century. These performers at the time often moved all over Europe.
Until World War I, Russia was integrated ino the artistic and entertaiment community of Europe which included circus troupes. This changed with the Russian Revolution and the Bolshevik control of the country.
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