HE Circus is a time-honored institution. It was known six hundred years before the birth of Christ, it is two thousand and forty years older than the invention of printing, and antedates the

discovery of America two thousand and ninety-five years. The first was built by Tarquinius Priscus, the fifth of the seven kings of Rome, and called the Circus Maximus, and was mainly devoted to horse and chariot races. Gladiators were admitted some centuries later. These early Romans delighted in exhibitions of combats between men and wild beasts, and seventy-six years before Christ, C. S. Curio, a Roman Consul, erected the first amphitheater, and the great Julius Cæsar the second. They were at first of wood; afterward, to be more durable, of stone, and the ruins of several still exist both in Italy and France. Ovid, in his "Art of Love," records the rare advantage that the circus affords for flirtation and love-making; and young people of our own time are apt to coincide with him.

The modern circus owes its origin to Philip Astley's Amphitheater in London, which was a few years ago turned into a regular theater by Dion Boucicault. Astley had served in the Seven Years' War, and with a horse which Gen. Elliott presented to him

and another which he purchased cheap, he conducted his equestrian performance in a field near the Halfpenny Hatch, Lambeth, receiving such trifling gratuities as the liberality of the spectators and passersby might see fit to bestow. From this humble exhibition he advanced, first to the dignity of an unroofed building in the midst of a lumber-yard. There his success was so great as to attract the attention of Royalty, and a few years later he was enabled to erect a spacious wooden building, which he opened in 1780 under the title of the Amphitheater RidingHouse, diversifying his feats by the introduction of musical pieces and dancing on a regular stage with scenery. This was deemed an interference with dramatic monopoly, and, as he had procured no license, poor Astley was arrested, prosecuted and imprisoned. Fortunately for him, he had instructed. the daughter of Lord Thurlow in riding, and, through her intercession, arising from a liking for her old riding-master, he was speedily released and a license granted him. His fame was now established, and, his popularity increasing, wealth rolled into his coffers. When the war broke out with the French Republic he at once proceeded to the Low Countries and rendered memorable service for "Merrie England." He was associated with the far-famed Franconi in the establishment of the Cirque Olympique at Paris. In physical organization he presented a fine type of English vigor, being upward of six feet in height, with extraordinary muscular power, and possessing all that dexterity in the management of the horse for which his countrymen are so distinguished the world His death occurred in 1814.

over.

THE CIRCUS IN AMERICA.

The first circus that ever went forth to please the small boy was organized in 1780 by a man named Pickets. Advertising was then in its swaddlingclothes, so to speak, and the days of mammoth posters and illustrated dodgers were unknown. Yet, when the circus reached Philadelphia, General George Washington and staff could not resist the opportunity to see the show, and the veracious historian of the period records that they attended in a body, were the observed of all observers, and enjoyed the first American circus hugely. In a few years Pickets associated with him a man from France named Boschard, and shortly after died, leaving Mons. Boschard monarch of all he surveyed in the circus arena of the United States. Boschard made money, and, as a man cannot long keep a good thing to himself, the result was that late in the last century and early in the present there was quite a respectable congregation of circuses perambulating about the country, preying upon the purses of the public. Perhaps they were no larger than the side-show of to-day, and it is doubtful if their entire receipts for a period of forty years would foot up to as much clear cash as the sums received by the circus treasurers of to-day in a single year.

In 1828 a circus started out from Putnam County, N. Y. The firm which made the venture was known as Angevine, Titus & Burgess, all of whom have long since been rallied 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. They possessed the first elephant shown in this country, and after creating considerable sensation, it died in New Brunswick. Next to an elephant, a fat boy was the greatest attraction, and was generally kept out of sight.

Three

A circus troupe in 1828 was considered complete when it had nine horses and seven men. pieces composed the band: a clarionet, hurdy-gurdy and bass-drum. The inclosure around the ring was covered by no roof. Night performances were very rare, except in the larger towns, and then the only lights were dimly burning tallow dips, which the slightest breeze extinguished. The circus people were considered a rough crowd, and traveled by night in wagons like a pack of gypsies. Yet, great was the excitement created when they came to town, and every one turned out; farmers left their plows,

merchants closed their stores, and the whole town, -men, women, and children-turned out to see the show. An old cracked trumpet announced that the all-important event had happened-and for months circus-day would serve as a calendar from which to reckon for the rest of the year.

Circus men in those days were no unwelcome guests. The tavern-keepers charged only thirty-seven and a half cents for each man per day, and if the show was a good one and the landlord and his family received plenty of "comps," he wrote down the bill on a cake of ice, or in other words charged the jolly jesters not a cent.

There were no $200 licenses to pay; no deadheads to pacify with free passes; nothing was charged for ground-rent; one small poster was enough for a town; rare animals, costly trappings, rich gewgaws were unheard of, hence not looked for. There was little or no heavy work, and fun was as plenty as any mirth-loving man might wish.

All this changed in 1830 and a new order of things was inaugurated, which paved the way to the grand, costly and magnificent circus of to-day. In that year Purdy, Welch & Co. started out in a style of magnificence and splendor that threw all the previous efforts of the circus world completely in the shade. This company had a brass band of eight pieces and a troupe of twenty-eight horses, and, moreover, they added a dignity to the circus business. Formerly the genius who turned the crank of the hurdy-gurdy, or first-class artist who pounded the bass-drum, or the seedy gentleman of foreign aspect who squeaked the clarionet, helped lead the horses to water, drive the stakes and hoist the canvas; and the far-famed clown whose jests made the sides to shake, the accomplished and polite ring-master, the tumbler without a rival or an equal in the world, and the most fearless rider the universe ever saw, rolled up their sleeves, and with pick and shovel, thought it no undignified task to round and grade the ring. But Purdy, Welch & Co. would have none of this. They actually had canvasmen whose duty it was to erect a genuine tent sufficient to shield from rain, so that neither the ardor of the young people nor the clothes of the older ones should be even dampened. A pole was in the center of the tent, around which were frames, which supported candles, so that night performances at once became the rage and vogue.

Some years later the Old Bowery Amphitheater,

in New York, was opened, and here the only really good show of the period was given. It was conducted by John Tryon, and in the winter two or three companies which traveled in the summer would be combined in it. Here Barney Williams, afterward famed for his Irish characters, now dead

and gone, sang comic songs and executed plantation or negro dances. He was a prime favorite with the crowds. Other attractions were the Stickney Family and the Madigans. The first clown of note-John Gossin-appeared in the Amphitheater.

and retired, was a four-horse rider, and John Matthews and George F. Bailey were performers in it. In 1840 Herr Dreisbach drove a lion harnessed to a car across the stage of the Old Bowery Theater, and created a furor. It was he who introduced wild animals in America, and a rude cut of a lion was used in printing bills for the performance. These bills were the first issued for the show business.

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 large amount of money. In 1850, or thereabout, the price of admission was put up to 50 cents, and "reserved seats." Seth Howes went to London with

his circus in 1856, and took the British people by storm. His advertising bills, though they would now be considered commonplace, were regarded as wonderful. They were printed in colors, and drew vast and

admiring crowds wherever they were posted. Since 1860 there have been great improvements made in the circus. In that year Lewis B. Lent, proprietor of the New York Circus, commenced traveling by rail. The other circuses were compelled to follow his example, and Van Amburgh was the last to leave the road. Lent's original train comprised twelve cars. He had no menagerie, but gave a fine

ring show. Mme. Dockrill first appeared in his circus. Things have changed greatly since Lent's circus train was whirled through the country. Big circuses now require three trains, aggregating fortyfive cars. Every circus manager seems bound to see how extensive a herd of elephants he can collect. One has twenty-three, including a pure white Indian elephant, while a second has twenty-one. There are at present nearly a hundred elephants in this country, and those of Adam Forepaugh are said to surpass any Zoological Garden. 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.

We must here add a few words about circuses in foreign lands. There is none half the size of the large circuses in America, although Meyer's in Germany, is of a fair size. 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 big ring and a collection is taken. The present building of Astley's Amphitheater in London is the fourth which has been erected on the spot. In Paris and Madrid there are several circuses, the finest of which in the latter city, the Circo de Price, is one of the largest and handsomest amphitheaters in Europe.

P. T. BARNUM.

Phineas T. Barnum was born at Danbury, Conn., July 5, 1810, and in February, 1828, commenced business on his own account. He opened part of a carriage house, having fitted it up as a retail fruit and confectionery store, including a barrel of ale. He expended $50 in fitting up the store, and the "fixins " cost $70. In 1831 he opened a store with an assortment of goods such as are usually found in a country store. On the 19th of October he started a weekly Democratic paper, known as the Herald of Freedom. In a very short time he found himself comfortably quartered in jail, on a charge of libel, where he boarded at the town's expense for sixty days. During the winter of 1834-35 he removed to New York. His first situation was that of drummer" to several Chatham Street establishments. In July, 1835, he purchased the celebrated "Joice Heth" for $1,000, and started in the show business, opening at Niblo's Garden, New York. He next engaged Sig. Vivalia,

whose performances consisted of remarkable feats of balancing, plate-spinning, etc. On the evening of his first performance, Barnum made his first appearance on any stage, by going on as "super," to assist Vivalia in arranging his plates, etc. In April, 1836, he became ticket-seller, secretary and treasurer of Aaron Turner's traveling circus. His next investment was the purchase of a steamboat, engaging a theatrical company, and visiting the principal towns on the Mississippi. In the spring of 1840 he opened Vauxhall Garden, New York, with a variety of performances. It was here that the celebrated John Diamond, jig dancer, was first introduced to the public. In April, 1841, he left the show business, and settled in New York, as agent of "Sears' Pictorial Illustration of the Bible," but in June he again leased Vauxhall Garden. In September he left the business, and soon after obtained the situation of "puff writer" for the Bowery Amphitheater. On the 27th of Dec., 1841, he became proprietor of Scudder's Museum. In Dec., 1842, he introduced. Tom Thumb to the public. On the 18th of January, 1844, in company with Tom Thumb and suite, he set sail for England, for the purpose of introducing to the London stage the "wonder of the world." He remained abroad until 1847, and returned to New York in February, 1847. In November, 1849, he engaged James Hall Wilson to visit England, and engaged Jenny Lind for a tour in this country. In 1844 he sent the Swiss Bell-Ringers to America, and in 1845 bought the Baltimore Museum. In 1849 he opened the Lyceum and Museum at Seventh and Chestnut streets, Philadelphia. In June, 1850, he chartered a ship to Ceylon to procure a dozen elephants for a traveling menagerie. In 1851 he sent the Bateman Children to London. During the years 1851-52 he traveled as a temperance lecturer. In 1851 he was President of the Pequonnock Bank, Conn. In the fall 1852 he started a weekly Pictorial, known as the Illustrated News. His Museum in New York was destroyed by fire on July 13, 1865. He then leased the Winter Garden Theater, where he played his company until he opened a museum on Broadway above Spring street, which was also destroyed by fire in 1868. He then became interested in George Wood's Museum, New York.

After some experience in politics, he commenced his career as a showman with an extensive circus and menagerie in 1871. In 1874 he constructed in