Like most Victorian-era circuses, the Ciniselli Circus represented a space where rich and poor could enjoy a good show. In Imperial Russia, aristocrats gazed from balconies while the working class crowded the stalls below. While historic circuses remain problematic due to race, ableism, and animal rights issues, they offered a melting pot where society mixed. As the Ciniselli Circus gained popularity, its diverse acts allowed women and people of color to take center stage. The circus also helped break down social barriers and pave the way for revolution in Russia.1. It Was Founded by a Famous Italian PerformerGaetano Ciniselli by Charles Bergamasco, 1870; Gaetanos daughter, Emma Ciniselli. Source: Library of Congress and Wikimedia CommonsThe Ciniselli Circus started with a bold solo that evolved into a family act.Born in Milan, Italy, Gaetano Ciniselli (1815-1881) joined a circus by the age of twelve. Ambitious and talented, Gaetano trained with horses at the Francois Bauchers equestrian school in Paris. At the time, the circus was horse-centric. Gaetano became a horse whisperer, able to perform exotic acts on horseback with ease. Soon, his European tours expanded to Paris.But Gaetano knew he needed more than grit and skill to achieve his goals. He wanted to become a master of the arena.The best way to secure this was to make a lucky marriage.Fortunately, Gaetanos career put him in the path of Wilhelmina Ginne (1817-1886), a beautiful and celebrated horsewoman who came from a famous and wealthy circus family. Nicknamed Landrinette, after the Landrin lollipops popular at the time, Wilhelminas beauty and skill meant that wealthy admirers flocked to see her. They showered her with gifts, bouquets, and poems. But when it came time to marry, Wilhelmina chose her handsome horse master.This advantageous marriage opened a world of connections and opportunities to Gaetano. It also gave him access to Wilhelminas famous family, including her influential brother, Karl Magnus Ginne. A rich and powerful circus manager, Ginne had made a name for the family as one of the most famous troupes in Western and Eastern Europe. Ginne made sure his sisters married into other prominent circus dynasties.Cinisellis wife, Wilhelmina Ginne, was a famous equestrian performer noted for her beauty and wealthy family. Source: The Kazan CircusA celebrated entrepreneur, Gaetano decided to create his own troupe in London. It was not hard to find performers. His wifes three sisters, their husbands, and even Karl Ginne, his influential brother-in-law, joined the enterprise.London proved a huge success. Audiences crowded the stalls as Gaetano showed off his skills as one of the best equestrians and horse trainers in Europe and as a circus manager. He continued to perform acrobatics on horseback to the delight of audiences across the continent. He also charged expensive rates for private riding lessons which earned him a fortune.By the 1860s, Gaetano and his family made such a splash that Victor Emmanuel II, the first King of united Italy, invited him to train at the royal stables. At the time, Italy was experiencing the Risorgimentothe unification of separate principalities into a single nation-state. Ciniselli received the title Honorary Royal Horse-master. It was a title he treasured for the rest of his life. Years later, he printed it in large letters across his circus posters.In 1868, an appreciative monarch also bestowed the Order of the Crown of Italy on Gaetano. The man who came from nothing now boasted a personal coat of arms.As Cinisellis status grew, he wanted more.Giniselli first visited Russia in 1846 on the invitation of his old teacher, Alexander Guerra. Two French circus managers had built rival wooden circuses nearby, and Guerra needed a new act to beat out his competition. Whenever a circus troupe became famous in Paris or Berlin, the Russian state invited the performers to Russia. During that winter, the circus performed to the publics delight. However, the circus went bankrupt the following year, so Guerra and Ciniselli returned to Western Europe.Stunning equestrian acts and feats of horsemanship became a central part of the Ciniselli Circus programs. Source: Library of CongressBy 1869, heaped with honors from the King of Italy, Ciniselli returned to Russia. His brother-in-law, Karl Ginne, had established several wooden circuses there, including one in Moscow and another on St. Petersburgs Mikhailovskaya (later Manezhnaya) Square.For years, Ginne begged the authorities to lease a space near Engineers Square to build a permanent stone circus. Every time, the authorities turned him down. Ginnes wooden building, cold, ugly, and a fire hazard, failed to attract large crowds. As a last resort, Ginne asked Ciniselli to come and upgrade the enterprise.A traveling circus tradition has existed in Russia since the early days of the Rus. In the early 18th century, Peter the Great encouraged Western circuses. By 1724, every post station in St. Petersburg carried an order signed by the tsar announcing and protecting the arrival of foreign circus artists. After this, the circus became a growing form of popular entertainment.Many people, including the Russian authorities, felt surprised that Gaetano would abandon tours in Paris to move to St. Petersburg. In fact, the troupe broke its Paris contract to make the move. If Gaetano ever set foot on French soil, he would have to pay an enormous fine. This meant that Ciniselli and his troupe could never perform in Paris again. The Ciniselli family, accompanied by their adult children, Andrea, Ernest, Scipione, and Emma, arrived in the Russian capital.The move may have seemed far-fetched, but Gaetano dreamed of owning his own permanent circus. Russia represented an opportunity to make his dreams come true. No permanent stone circus existed in the Russian Empire. Circus, as a developing public art form, remained in a traveling format, interspersed with a few temporary wooden buildings knocked together.Ciniselli decided to change that.2. It Was Known as the Most Beautiful Circus in EuropeExterior of the Ciniselli Circus. Source: Library of CongressWhen Ciniselli decided to build the first stone circus in Russia, he set his sights on the same plot of land near Engineers Square, right on the Fontanka Embankment, that Ginne unsuccessfully tried to snag. The authorities kept rejecting the proposal because building the stables for the circus would mean closing off the walkway for the Mikhailovsky Castle, reducing foot traffic into the nearby Summer Gardens.Gaetano knew he needed a great sales pitch.In 1875, he turned to the City Duma. First, he appealed to Russias competitive spirit and desire to attain the same cultural status as other European cities. In the West, Ciniselli pointed out, every famous city had at least one permanent circus. Despite its cultural sites, large population, and status as an imperial capital, St Petersburg had no similar circus.Next, Gaetano, who had done his research, argued that Moscow, Warsaw, and other major Russian cities already had stationary circuses. The cities even subsidized their construction. Finally, the circus manager dangled the promise of a significant economic upturn. He observed that a troupe of 150 performers with 200 horses arriving in the city would stimulate a thriving trade. Both the horses and people needed to eat. They would buy products. Shops would flourish. Even the working class would benefit by taking on jobs at the circus.Ciniselli added a bonus offer.Late nineteenth-century crimson and gold interior of the Ciniselli Circus. Source: Library of CongressAs a favor, he would demolish his brother-in-laws wooden circus on Mikhailovsky Square, build a park on the premises, and surround it with a wrought iron fence. He would even throw in a fountain. Best of all, he would use his own money to do it. In return, all the authorities needed to do was grant him permission to build near Engineers Square.As a parting shot, Ciniselli asked if they wanted to be like Paris. This appeal hit its mark in a country where most of the nobility spoke French more often than Russian. This blend of cultural competition and economic promise proved too good to pass up. The City Duma granted Cinisellis request to start breaking ground near Engineers Square.The building went up fast. It only took two years. According to a 19th-century travel guide, it also cost a staggering 40,625, or over $7,697,969 US dollars today (John M. Ross, The Globe Encyclopedia, vol. 5, 362).On December 26, 1877, the first stone circus building opened in Russia. Its exterior blended classical and baroque designs finished with bas-relief sculptures and figures of the muses standing in the arched windows. It was crowned by a giant mesh-ribbed dome to amplify the sound, which had the distinction of being the biggest circus dome of the 19th century.Pre-revolutionary view of the grand interior of the Ciniselli Circus showcasing the orchestra, stage, and imperial box, by A. Otsup, 1904-1914; Ciniselli Circus program. Source: Antenna Daily and 47News.The interior offered a study in luxury. Rich crimson velvet armchairs lined balconies decked with glittering gold, crystal, and mirrors. Caryatids flanked the draped royal box. Gas chandeliers dangled from the ceiling to light up the vast floor below. Soft Persian carpets sank underfoot. When the audience entered, they glimpsed exotic fish swimming in tanks built into the walls. The dome, designed to look like a circus big top, featured paintings of flowers and equestrian scenes of Ciniselli and his daughter, Emma. During the intermission, spectators peeked into the circus stables filled with 25 of the troupes 200 horses. Even the stables shone with marble and mirrors.Mindful of the fires that destroyed earlier circuses, Cinisellis Circus complied with all current fire codes to optimize safety, including cutting-edge emergency fire exits.The circus lavish interior catered to the upper crust of St. Petersburg society, although the circus appealed to all cultural levels. In fact, the Romanov family was so impressed by the design that they gave the architect Vasily Kenel a valuable diamond ring.While the boxes and stalls could seat 1,500 spectators, the standing gallery enabled the auditorium to fit up to 5,000 people. This meant that Ciniselli could pack the place, night after night, at full priceand he did. Getting a seat at the Ciniselli Circus could be competitive since tickets sold out a year in advance.Within a few years, the Ciniselli Circus became known as the most beautiful circus in Europe.3. Women and People of Color Took Center StageVisitors to the Ciniselli Circus watched dramatic shows such as stormy water spectacles that involved elaborate stage sets. Source: Library of CongressIn wintertime, the Ciniselli Circus came into its own.With St. Petersburgs streets shrouded in snow, the circus offered winter spectaculars blazing with light, color, and energy. Many visitors would hire a troika with three horses to navigate winter streets for a night at the circus.Armies complete with horses and foot soldiers marched and fought mock battles on stage. A water show called the Four Elements offered a favorite extravaganza that delighted audiences again and again. For this spectacle, Ciniselli transformed the arena into a giant pool where horses, deer, and elephants frolicked with their riders. Water cascaded from multiple fountains. Ciniselli also threw opera-style productions of Oedipus and the Three Women of Mikado.The circus remained a favorite with Russian leaders, both the tsars and later Soviet rulers. In March 1884, the future Nicholas II enjoyed a day at the circus. After breakfast, went to Cinisellis and watched the clowns various performances, he wrote in his diary, Everything was excellent; the clowns made us laugh terrifically.Emma Ciniselli; Cinselli Circus corps de ballet. Source: Wikimedia Commons and Marina Mayatskaya via Kazan CircusFamous riders and clowns competed onstage. In 1898, the World Wrestling Championship, featuring the Russian Lion, George Hackenschmidt, opened a session of the Ciniselli Circus.While the Ciniselli Circus stayed horse-centric, it also included nimble pole vaulters, wire-free dancers, a troupe of clowns, strong men, and a female ballet corps. Best of all, they never let the repertoire grow dull or repetitive.As a master of advertising and entertainment, Ciniselli changed the program daily, but kept a single act running two nights in a row if it made the public go wild. The Ciniselli family understood that the public quickly tired of the same shows over and over again and sought to infuse the circus with new life.Ciniselli Circus poster showing a female equestrian and clowns; 19th century circus programs often featured exotic spectacles that involved stereotyped images and animal acts that would not pass today but enthralled audiences at the time. Source: Kazan Circus and 47NewsThe Liberty Act turned into one of Scipiones most popular shows. In this act, the circus manager directed twelve free horses. This meant that no one restrained the horses by reins, saddles, or spurs Instead, the dozen horses performed synchronized movements just by verbal command.During these equestrian spectacles, the Ciniselli daughters pranced into the center of the arena. Like their mother, they demonstrated skills and confidence atop a horse.Liberty Act by Vasily Aleksandrovich Kenel, 1877. Source: Library of CongressIn a time and place where society often required women to adhere to strict behavioral standards, the circus offered an arena for those who did not fit into societys box to showcase their personalities and talents. Everyone applauded these shows, from the peasants to the tsar.Many Africans and people of African descent also found work at the Ciniselli Circus as talented acrobats, gymnasts, and troupe members. In contrast to the systemic racism of Jim Crow laws in America, people of color often found Russia a haven from racial prejudices. New performers regularly arrived by ship, fresh from shows at far-off places like the London Hippodrome.Ciniselli devoted his life and career to improving the quality of circus art. By the end of the 19th century, he significantly increased the circus prestige.The Ciniselli Circus today; Elephant act rehearsal at the Ciniselli Circus, c. 1910-1914. Source: Kazan CircusJust four years after opening his own circus, Gaetano Ciniselli died in 1881.His wife took over running the successful circus. When Wilhelmina passed, her oldest son, Andrea, became manager. Later, Scipione took over as circus manager. He brought new water acts and equestrian tricks to the program.The circus evolved as a political tool during the First World War. Popular singers gave 163 patriotic concerts to a diverse crowd from the Ciniselli Circus stage (Melissa Stockdale, Mobilizing the Russian Nation, 131). Workers flocked to performances, thanks to a special discount (Jahn Hubertus, Patriotic Culture in Russia, 116).As Russia headed toward revolution, the circus found itself on the brink of a new era. In 1919, the Soviet government nationalized the Ciniselli Circus and evicted the Ciniselli family. Scipione fled the country to Western Europe, where he died in poverty. His four nephews stayed and kept performing in acts all over the country. In the aftermath, a new group of artists took over running the circus to comply with the patriotic values of the new Soviet state. Emma Ciniselli married clown and juggler Nicholas Kiss. Together, they began a new circus dynasty.Emma Cinsinelli. Source: Society of Swedish Literature in FinlandIn 1924, the Soviets renamed it the Leningrad Circus (Miriam Neirick, When Pigs Could Fly and Bears Could Dance, 10). In 2015, it became the Ciniselli Circus once again. The park Ciniselli developed on Manezhnaya Square in exchange for permission to build the first stone circus became a cultural heritage site. The Ciniselli Circus remains an important cultural icon today.Many early circuses had a dark history of exploiting otherness, from race and gender to ableness. While the practices of historic circuses are challenging to modern values and the Russian circus did not escape stereotypes of the time, the Ciniselli Circus also offered a space for women and people of color to overcome many political and cultural barriers by appearing on stage.Toward the end of the Russian Empire, the Ciniselli Circus set a strong precedent for female participation in circus management. It also enabled people of color to take center stage instead of appearing only in sideshows. In the years before the Russian Revolutions of 1917, the circus universal appeal and accessibility widened cracks in the social system as classes mingled.Street art became accepted as an elevated form of entertainment, setting the stage for the circus prestige in the 20th century and beyond.Further ReadingClay, Catrine. (2006). King, Kaiser, Tsar. John Murray.Hubertus, Jan. (1995). Patriotic Culture in Russia During World War I. Cornell University Press.Neirick, Miriam. (2012). When Pigs Could Fly and Bears Could Dance: A History of the SovietCircus. University of Wisconsin Press.Ross, John M., ed. (1879). The Globe Encyclopedia of Universal Information. Vol. V. Estes &Lauriet.Stockdale, Melissa Kirschke. (2016). Mobilizing the Russian Nation: Patriotism and Citizenship in the First World War. Cambridge University Press.