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3 revisions | Whit at Apr 17, 2020 02:43 PM | |
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15BUFFALO BILL'S WILD WEST PAWNEE BILL'S FAR EAST The Great Far East section of the exhibition will be employed in the presentation of an Oriental spectacle as a striking contrast to the battle scenes and warlike features of the Wild West. From the rugged PAWNEE BILL'S GREAT FAR EAST COMBINED WITH BUFFALO BILL'S WILD WEST THE FAR EAST vistas of our own mountains and plains, the scene shifts to the sands of Sahara, with its pyramids and Sphinx in the distance. In the foreground a caravan is resting; its camels and donkeys are halted, while the Bedouin prepare their camp. The entire scene presents with accuracy a section of the desert, with its desolation and endless stretches of glimmering and glistening sands. The Bedouin bandits complete their encampment and settle down for rest and recreation when a courier arrives with the information, told in pantomime, that a party of tourists are coming to visit the pyramids and Sphinx. Mounted upon his beautiful Arabian charger, the Sheik of the tribe arrives at this juncture and directs that the tourists be captured and held for ransom. The sightseers soon come into view, and in accord with the Sheik's command, are surrounded and made captive. A courier is sent to their friends with the information that they will be held as hostage for ransom which must be at once forthcoming. In honor of the occasion and to while away the time the Sheik directs that an entertainment be presented. There immediately follows an imposing procession, employing representatives of various tribes and races of the Orient, decked in the splendors of their gaudily-colored robes and costumes and mounted upon camels, elephants and various other "ships of the desert" until the entire arena is filled with a mass of moving color. In the center of the scene a tabernacle is erected and a Hindu fakir exemplifies the art of illusion by causing a beautiful young lady to gracefully float in midair and to eventually disappear in a maze of mystery. Eight richly-caparisoned horses will draw this tabernacle into view, and with its gaudy Oriental dressings and draperies will constitute an imposing tableaux typical of the magic-loving Hindu. Japanese jugglers, Arabian acrobats and many tribes and troupes will exemplify their skill and expertness in feats of necromancy and athletics. Incidental to the scene will be introduced Rossi's Musical Elephants, a troupe of mammoths especially engaged to be the feature of this particularly attractive element in the composition of the Wild West and Great Far East. They tread the graceful minuet, march and countermarch, play various instruments and ring bells in musical harmony. Their training has resulted in a truly marvelous display. While the various features of the Oriental spectacle are progressing, word has been transmitted to the friends of the captives and as a climax to the scene there arrives relief, the ransom money is paid over and the tourists proceed upon their journey. 16 17 | 15BUFFALO BILL'S WILD WEST PAWNEE BILL'S FAR EAST The Great Far East section of the exhibition will be employed in the presentation of an Oriental spectacle as a striking contrast to the battle scenes and warlike features of the Wild West. From the rugged PAWNEE BILL'S GREAT FAR EAST COMBINED WITH BUFFALO BILL'S WILD WEST THE FAR EAST vistas of our own mountains and plains, the scene shifts to the sands of Sahara, with its pyramids and Sphinx in the distance. In the foreground a caravan is resting; its camels and donkeys are halted, while the Bedouin prepare their camp. The entire scene presents with accuracy a section of the desert, with its desolation and endless stretches of glimmering and glistening sands. The Bedouin bandits complete their encampment and settle down for rest and recreation when a courier arrives with the information, told in pantomime, that a party of tourists are coming to visit the pyramids and Sphinx. Mounted upon his beautiful Arabian charger, the Sheik of the tribe arrives at this juncture and directs that the tourists be captured and held for ransom. The sightseers soon come into view, and in accord with the Sheik's command, are surrounded and made captive. A courier is sent to their friends with the information that they will be held as hostage for ransom which must be at once forthcoming. In honor of the occasion and to while away the time the Sheik directs that an entertainment be presented. There immediately follows an imposing procession, employing representatives of various tribes and races of the Orient, decked in the splendors of their gaudily-colored robes and costumes and mounted upon camels, elephants and various other "ships of the desert" until the entire arena is filled with a mass of moving color. In the center of the scene a tabernacle is erected and a Hindu fakir exemplifies the art of illusion by causing a beautiful young lady to gracefully float in midair and to eventually disappear in a maze of mystery. Eight richly-caparisoned horses will draw this tabernacle into view, and with its gaudy Oriental dressings and draperies will constitute an imposing tableaux typical of the magic-loving Hindu. Japanese jugglers, Arabian acrobats and many tribes and troupes will exemplify their skill and expertness in feats of necromancy and athletics. Incidental to the scene will be introduced Rossi's Musical Elephants, a troupe of mammoths especially engaged to be the feature of this particularly attractive element in the composition of the Wild West and Great Far East. They tread the graceful minuet, march and countermarch, play various instruments and ring bells in musical harmony. Their training has resulted in a truly marvelous display. While the various features of the Oriental spectacle are progressing, word has been transmitted to the friends of the captives and as a climax to the scene there arrives relief, the ransom money is paid over and the tourists proceed upon their journey. 16 17 |