Three noted old-time circus riders, whose fame was world-wide a few years ago, are members of our organization this season, assisting the management. They are “Bob” Stickney, whose equestrian and acrobatic feats are still fresh in the minds of all circus goers, and Frank J. Melville and William E. Gorman, who were comfortable on any part of a horse’s body, barring, perhaps, the ears. They will live forever in the annals of the circus. Timothy Turner was the first to somersault on a horse’s back. The thing was done in the old Bowery Theatre in New York City in the ’50’s. Levi J. North, who was performing in an opposition theatre, heard of the accomplishment and successfully imitated it the same night. John Glenroy followed with a somersault--performed without the presence of the pad then in general use and which his predecessors had alighted upon. Then James Robinson, creator of many bareback tricks, duplicated the act. Charles Fish, Frank Pastor, Romeo Sebastian and David Richards were other celebrated circus horsemen of that period. Billy Morgan inaugurated the now common mule riding act. Mrs. Walter Howard was the first circus equestrienne of public prominence. Sixty years ago, her simple performance fairly dazed spectators. She gave lessons in her art to many of the later woman riders and made a sensation by being the only woman at that time to cast herself through paper balloons. Alice Lake was a remarkably skilful horsewoman. Of the foreigners who came here, Madame Tounaire was easily the best performer. Her daughter, Molly Brown, was the first woman in this country to somersault on a horse, and few women since have accomplished the trick. Mrs. William Roland, Madame Dockrill, Adelaide Cordona, Louise Rentz, and Pauline Lee attained prominence. Linda Jeal was famous for several years and taught her niece, Dallie Julian, seventeen years old, the somersault. CHAPTER XVII THE CIRCUS PRESS AGENT The wily press agent’s method of gaining publicity for his show varies with the size and moral disposition of the cities in which he finds himself. In executing his publicity-provoking designs in populous centres there is in him no serious purpose to avoid an arrest. In the smaller cities he must needs exercise his ingenuity to prevent the action of the law. The notion that showmen are moral delinquents is firmly settled in rural communities, especially in the East, and if in the excess of his enthusiasm to bring to wide attention the presence of the circus the press agent commits what an obdurate policeman considers a public wrong, and there follows an appearance before a magistrate, resentful townspeople look on him and his companions as lawbreaking intruders, rudely defying the local government, disturbing the peace, and ready, perhaps, to commit some more flagrant offence. A clergyman may make the incident a text of protest. It is bound anyway to arouse animosity and have a calamitous effect.