The current British Library exhibition âVictorian Entertainement: There Will Be Funâ starts with a poster advertising the day performances and âSoirĂ©es Fantastiquesâ of French magician Robert-Houdin, âThe Father of Modern Magicâ. After the Revolution of February 1848, which deposed the French King Louis Philippe, Robert-Houdin went to London where he performed at the St Jamesâs Theatre in the summer of 1848.
Poster for Robert Houdin, âSoirĂ©es Fantastiquesâ, St. James's Theatre, Piccadilly. 1848 (Evanion 528)
The third part of the show involved a Levitation Illusion, called âEscamotage de Robert-Houding Fils, Suspension Etherenneâ, which is illustrated at the bottom of the poster. The trick is still used nowadays by street performers throughout the world. In this performance, starring his own son, Robert-Houdin associated the trick with the use of ether, claiming that he had discovered a new marvellous property of the substance: its inhalation would make the boyâs body as light as a balloon, allowing him to float in the air with only a stick as a support.
Robert-Houdin was an inspiration for Evanion, the London conjuror and ventriloquist who started performing in 1849 and whose collection of ephemera related to Victorian entertainment, magic and performance is currently on display in the exhibition.
Among the French items in the collection several posters advertise performances held at the Foire du TrĂŽne in Paris in the 1880s. They show the diversity of the attractions held at this fair, dating back to the Middle Ages, which still takes place every year around Easter. The fair used to be held by the Abbey of Saint-Antoine and was called âFoire au Pain dâEpiceâ because of the gingerbread made by the monks for the occasion.
The Fair owes its name to its location, a square in the East of Paris which used to be called âPlace du TrĂŽneâ after the throne erected there as part of the celebrations for the wedding of Louis XIV and Maria Theresa of Spain in 1660 (depicted in LâentrĂ©e triomphante de leurs majestez ... dans la ville de Paris... (Paris, 1660) British Library 37/604.i.22.). During the French Revolution, it became the square of the Toppled Throne, âPlace du TrĂŽne renversĂ©â, where a guillotine was set up, and it was later renamed Place de la Nation.
âLe lundi de PĂąques Ă la foire aux Pains dâEpicesâ, Le Journal IllustrĂ©, 16 April 1893 (BibliothĂšque nationale de France)
In an engraving printed in Le Journal IllustrĂ© of 16 April 1893, crowds of adults and children wander through the fair and its tents; open air activities include, from left to right, the selling and throwing of confetti, snack selling, giant effigies, musicians, a game of balls, an air balloons themed Ferris wheel, and the Hammer game.
Examples of Foire du TrĂŽne attractions featuring in the posters collected by Evanion include races accompanied by military bands and riding lessons for the general public at the Hippodrome (1881, Evanion 593, pictured above).
Poster for Rothomago. Foire du TrĂŽne, 1881. Evanion 1257
It also included performances of Rothomago, a fairy spectacle in 3 acts and 16 tableaux (including the Enchanted Twig, the House of the Devil, the Speaking Talisman, and the Genius of the World, finishing with an Apotheosis illuminated with electric light âeven during daytimeâ), with painted backgrounds, cardboard sets and exotic costumes. The exuberance of this dramatic love comedy exudes from the illustration at the centre of the poster, peopled with characters of different dress and status, from the majestic fairy standing at the top of a jungle temple, to the lovers at the centre of the scene.
Poster for the wax museum, âGrand musĂ©e franĂ§ais de sujets en cireâ, Champ de Foire, Paris, 1881. Evanion 594
The âChamp de Foireâ was a space for the display of curious, instructive, entertaining or terrifying exhibits, like the Great French Museum of Wax Characters, focused on contemporary military and religious figures. It included life-size effigies of the sovereigns of Europe, and the tribal chiefs of Zululand, with an action scene showing the recent dramatic death, in 1879, of the young prince Napoleon (son of the emperor Napoleon III), who had joined the British troops in the Anglo-Zulu War. The show also displayed models of the most famous contemporary criminals. The author presents himself in the tract as an accredited and serious âartistâ, who uses historical accessories (costumes and arms are â300 to 400 years oldâ) and distances himself from fairground entertainers and charlatans: his âgallerieâ is not designed to entertain the idle, as one needs to be âvraiment intelligentâ to appreciate its riches, though three âexplicateursâ will guide visitors.
The fair featured the Glass Weaver, a âfamous artistâ who would make her âchefs-dâoeuvreâ in front of the public, producing a variety of objects such as carafes, test tubes, crystal flowers, and wonderfully long threads of glass (1887). The illustration shows how craft making becomes a performance: rays of light emanate from her head and she works at a table, behind a glass screen, surrounded by clouds of smoke and flanked by two monumental lions.
The Foire du TrĂŽne hosted a variety of shows and performances, from the technologically sophisticated, like cinematographic projections, which started in the 1890s, exalting the wonders of modern science, to the more modest, like the Living statues act, with street artists dressed and made up to impress the crowds (see the backstage preparation of âGolden menâ in 1893).
The fair held many stands and entertainments tents. In 1895, Toulouse-Lautrec painted two panels for the oriental booth of La Goulue (âthe Gluttonâ), Louise Weber, a cancan dancer who had gained fame and wealth by performing at the new Moulin Rouge cabaret which opened in Montmartre in 1889. In the left panel La Goulue, dances at the Moulin Rouge with her partner, the tall and gaunt Valentin the DĂ©sossĂ© (âthe Bonelessâ); in the right panel she performs a âdanse mauresqueâ, belly-dancing accompanied on the piano, next to two characters in oriental costumes. Unfortunately, her show at the fair was a failure and eventually closed down.
Throughout the 20th century, the Foire du TrĂŽne remained a major venue for popular entertainment: its atmosphere was captured in the 1920s and 1930s by news agencies like âAgence Rolâ, âMeurisseâ or âMondial Photo-Presseâ and in the 1950s and 1960s by famous photographers like Doisneau, Izis, or Depardon.
Above: Coronation of the Queen of the Foire au Pain dâĂ©pice, 27 avril 1922 , Agence Rol (BibliothĂšque nationale de France); below, Crowds at the fair, April 1924 (BibliothĂšque nationale de France)
On the BibliothĂšque de France Gallica Website you can listen to recordings of songs and music of the Foire du TrĂŽne, like Jean Nivelâs âPots-pourris de marches, valses, tangos, boleros, javas, polkas, slow, foxâ, from 1955, or Jean BĂ©rard playing his barrel organ in the 1960s.
IrĂšne Fabry-Tehranchi, Curator, Romance collections.
Parade: la Foire du TrĂŽne, 1936-1947, photographies, Marcel Bouvet; prĂ©sentĂ©es par GĂ©rard Gagnepain (Pont l'AbbĂ©, 2006).
Le cirque d'Izis: avec quatre compositions originales de Marc Chagall. PrĂ©face de Jacques PrĂ©vert (Monte-Carlo, 1965). LB.31.c.1694
Rosolen, AgnĂšs, De la foire au pain d'Ă©pice Ă la foire du TrĂŽne (Charenton-le-Pont, 1985) Awaiting shelfmark