‘The receipts from some side shows reach over $150 a day, and with the larger concerns a still greater amount than this is taken. I know of a side show that travelled with a circus company through Vermont and the Canadas, about ten years ago, that actually came home in the fall with more money than the circus had; not that it took more money, but it did a big business, and had little or no expense. The side show belonged to the manager of the big show, and consisted of a couple of snakes, a cage of monkeys, and a deformed negro wench, who was represented as a wild woman, caught by a party of slaves in the swamps of Florida. While the big show did a poor business the “kid” show made money. Some of the circus managers do not dispose of the side show privilege, but run it themselves. Then, again, the manager of the big show rents out what is called the “concert privilege;” that is, the right of giving a minstrel entertainment within the canvas of the big show as soon as the regular afternoon and evening performances are over. This consists of a regular first part and variety minstrel entertainment, given by the circus performers, who can either play some musical instrument or dance; occasionally some of the ladies of the company dance. The show lasts about three quarters of an hour, and the charge is twenty-five cents. The clown announces to the audience, just before the big show is over, that the entertainment will be given immediately after, and those who wish to witness it can keep their seats. Several parties then skirmish among the assembled multitude and cry “tickets for the concert, twenty-five cents,” and just before the entertainment commences the tickets are collected.’ New York and New Orleans are provided with permanent buildings in which circus performances are given during the winter by companies which travel in the tenting season. At the New York Amphitheatre the company comprises some of the best equestrians and gymnasts, American and European, whose services can be secured, such as Robert Stickney, William Conrad (who, with his brother, will be remembered by many as gymnasts at the Alhambra), and Joe Pentland, one of the oldest and best clowns in the Union. The stud comprises between forty and fifty horses, all used in turn in the ring, as the summer campaign is made by rail, and only the principal towns are visited. Mr Lent is lessee and manager in New York. The New Orleans Amphitheatre combines a menagerie with its circus attractions, and is owned by C. T. Ames. There are twelve camels attached to it, and a ‘mio,’ whatever that may be, the animal being as unknown to naturalists, by that name at least, as the ‘vedo’ of Sanger’s circus. Lucille Watson, now with Barnum’s company, was previously a member of the New Orleans troupe. CHAPTER XIV.