Tag Archives: circus history

Circus wagons

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The heyday of the American Circus occurred in the early 1900s. Hundreds of circuses, both small and large, toured the United States, performing for audiences of a few hundred or several thousands. Trains took the circuses all over the country and by then the circus was the circus we think of. Canvas tents had been invented and adopted in the mid-nineteenth century and exotic animal acts became a feature of the performances. The trapeze, invented in France, was added to the line-up.

But in 1800, if the circus came to Durham, Maine, it would be far different. As discussed in previous blogs, there were no tents; the circus constructed a small roofless amphitheater. Instead of elephant and lion acts, the animals were dogs and pigs. The trapeze, adapted from the tightrope, had not been invented. And trains did not carry the circus across the country,

Horse drawn wagons would have been the vehicle used.

As my model for the wagons used in A Circle of Dead Girls,

I used the Burton wagon. It is the oldest example of a wagon used as a home in Great Britain. 

The history of the wagon, however, is older. By the late 17th century, most of the roads in Europe were paved. It is thought that the first wagons used as living quarters appeared in France and were designed for the actors of the circus. They were large, horse drawn caravans. By the middle of the 18th centuries, the carriages became smaller and only needed one or two horses to pull them.

The Burton wagons had small wheels placed under the body of the carriage itself and were undecorated. These wagons evolved into the elaborately embellished wagons, with large wheels necessary for going off-road, used by the Romani. According to Wikipedia and other sources, they began using such wagons about 1850 called a vardo.

Since John Asher, the circus owner, is from England and has traveled through Europe, I imagined that he would have seen such living wagons in France and other places and used them for the models of his own horse-drawn circus wagons. These living wagons would be a practical solution to traveling from town to town.

The decorated wagons did not disappear when the circus began touring via train. They evolved into parade wagons, the brightly painted and gilded wagons that paraded through town to advertise the circus. The circus museum in Sarasota, Florida has some fine examples of these wagons.

The American Circus

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In The Circle of Dead Girls, my latest Will Rees mystery, the circus comes to this small Maine town. It is hard to believe, but the American circus was still in its infancy in 1799.

 Although the circus has a long history – the Egyptians are commonly credited with inventing acrobatics – all forms of entertainment including the jugglers and the acrobats were banned during the Puritan era.  It was not recreated in England until Sergeant-Major Philip Astley began exhibiting his equestrian prowess on the outskirts of London in 1768. He performed in a circle (a ‘circus’ in Latin).

In 1770 he decided to expand the appeal of his show by adding acrobats, ropedancers (or wire walkers) and jugglers. (The trapeze, which evolved from the high wire acts, had not yet been invented.) He finished the production with a pantomime, a farcical play that included characters from the Commedia del Arte: Harlequin, Columbine and Clown. His new circus was a huge success.

Like many parts of American culture, this new version of the circus came to the United States from England. As Europe prepared for war, one of the many between England and France, a pupil of the English equestrian tradition, John Bill Ricketts, brought the circus across the Atlantic. He set up a riding school in Philadelphia in 1792 and established the first circus the following year. It was not a traveling circus but was, like the Astley entertainment, housed in a wooden amphitheater.

From the first, despite the social and cultural mores that repressed women, they performed in the circus. They were career women before the term was invented. And they were frequently the stars.  In 1772 Astley’s circus featured two equestriennes. The wives of Astley and another trick rider J. Griffin were so popular and famous they were invited to perform before the royal families of England and France. Following their lead Ricketts included a woman in his circus who not only worked as an equestrienne but also doubled as actress and dancer.

Many of the women who performed in circuses were the wives and daughters of male owners or performers. In Europe there was already a culture in which the children raised by circus parents became performers in their turn. A famous ropedancer, familiarly called Bambola, was one such in Italy. I borrowed the name for a character in A Circle of Dead Girls.

The circus allowed women to exhibit their bodies and their physical strength in public.  The equestriennes certainly could not do tricks on the backs of galloping horses in long trailing skirts so, horrors!, they wore knee-length skirts that clearly showed the shape of their legs. To modern eyes, this reveal would look remarkably tame. But in the eighteenth century this was titillating. Women of that time were tightly corseted and completely covered. It was not proper for them to attend the circus, which was on a par with Burlesque.  Until the Civil War (1861 – 1865) the audience of the American circus was predominantly male. The female performers, like actresses, to whom they were compared, were suspect, considered little better than harlots. But unlike the actresses, who only had to be pretty and seductive, the women in the circuses had to have talent and be willing to undergo the grueling training required for the acts. They, like their male counterparts, had to be unusually healthy and fit. 

The circus proved extremely popular in the United States and Ricketts expanded to include New York and Boston and even cities in Canada. To reach more people, the circuses began to travel, building and then tearing down the wooden arenas as necessary. In 1825, Joshua Purdy Brown decided to present his show under a canvas tent instead of the temporary wooden structures. The modern circus was born. 

Although there is no record of traveling circuses before the 1800’s, I suspect some enterprising fellows would set up their own small companies. Outside of the few big cities at that time, (which were primarily New York, Philadelphia and Boston, most of the U.S. was rural. Picture how exciting the arrival of such entertainment would be. And how exotic the performers would appear to the farmers and small shopkeepers who came to see them. And imagine how seductive such a beautiful ropedancer would be in a tiny town in Maine . . .