On March 21, 2021, the Bizzarro Bazar web series will be back on my YouTube channel with 10 new episodes produced in collaboration with the prestigious Civic Museums of Reggio Emilia.
The episodes, as for the first season, will be published every other week.
By now you know what to expect: strange scientific experiments, quirky characters, human wonders, stories bordering on the impossible — in short, all the classic Bizzarro Bazar repertoire.
As usual, the direction and fantastic animations have been curated by Francesco Erba, but this time we shot the live parts in the exceptional historical collections of the Palazzo dei Musei: in each episode, in the Show & Tell section, one of the museum curators will open a display case just for us, and allow us to discover the most emblematic and curious objects and pieces.
Here is a little trailer to lighten the wait, and see you soon!
August 21, 1945: physicist Harry Daghlian was stacking a nice pile of tungsten carbide bricks around a plutonium sphere when a brick slipped from his hand and brought the core into supercritical condition. Daghlian died 25 days later.
May 21, 1946: physicist Louis Slotin was working on a plutonium sphere — but not just any sphere: the very same that had killed Daghlian. To separate the two halves, he had the bad idea of using a screwdriver. The screwdriver slipped, the top fell off. Slotin died 9 days later.
From that moment on, the poor plutonium sphere no longer enjoyed a good reputation, and it also earned an unflattering nickname.
But nuclear history is full of incredible incidents. There is one aspect regarding the Manhattan Project, which led to the creation of atomic bombs dropped on Hiroshima and Nagasaki, that is not often talked about: human experiments on unsuspecting subjects. Take for instance Albert Stevens, who survived the highest dose of radiation ever accumulated in a human’s body when, without his knowledge or consent, scientists injected him with 131 kBq of plutonium.
Everybody speaks ill of poor HAL, but perhaps it is time to reevaluate the guy. In 2001: A Space Odyssey, the infamous supercomputer kills some astronauts, and gets eventually killed itself. Now that artificial intelligence is a reality, we’d better start asking ourselves some questions about the ethics of murder by machines, but also of the murder of machines.
The always excellent Lindsey Fitzharris (author of The Butchering Art) delights us with some anecdotes about beauty hacks from the past. For example, a method that was used to make 18th-century wigs look attractive by spreading them with lard. Attractive, that is, for fleas and lice.
A geologist discovered an ancient cave, but he immediately noticed that it was not a natural cavity. Someone or something must have bored it. And what were those huge scratch marks, produced by gigantic claws, on the walls…? When reality surpasses Lovecraft: here are the underground tunnels excavated by the mysterious prehistoric megafauna.
Take a look at the picture below. It’s entitled Franz de Paula Graf von Hartig and his wife Eleanore ad Caritas Romana, and it’s a 1797 painting by Barbara Krafft. When you are done laughing and/or feeling uncomfortable, check out the meaning of that “Caritas Romana“ in the title, and enjoy other examples of young girls breastfeeding old geezers.
There are those who spend hours scrolling through the photos of influencers. I would spend days watching the Russian poet, body-builder and futurist Vladimir Goldschmidt hypnotizing a chicken.
Idea for an action film / comedy drama.
Title: White Trip.
Concept: think The Revenant meets Fear and Loathing in Las Vegas.
Plot: Finnish soldier Aimo Koivunen, during the Second World War, is ski patrolling a mountain area when his unit is suddenly caught under Soviet fire. Aimo begins to escape from the ambush, but after skiing for a long time he feels exhausted; the enemies are still on his tail, and they are getting closer and closer. So he decides to take one of the methamphetamine tablets that the commander has entrusted him with; but, partly because of the big gloves he’s wearing, and partly because he has to keep skiing to save himself, he can’t take the tablet out of the package. To hell with it, he thinks, and swallows the whole jar of pills. Suddenly he starts skiing again with renewed, exceptional energy, but after a while everything becomes blurred, and Aimo passes out: he wakes up alone, lost in the snow and separated from his patrol, without any food and in full overdose delusion. He keeps on skiing frantically, and avoids some more Soviet soldiers. At one point he manages to catch a bird which, in his hallucination, appears to him like a wonderful crispy chicken skewer; he swallows it raw, feathers and everything. Then he runs into a land mine that blows him up in the air. Although badly injured, he continues to ski. After covering 250 miles and spending a week in the open, bleeding and now reduced to skin and bones, he finally manages to return to the Finnish front. When they take him to the infirmary, his heart rate is still twice the average. As soon as he sees the doctor Aimo says: “Hello dear, you don’t happen to have some chamomile tea? I feel a bit nervous and your antennae look ridiculous.”
Based on a true story. (Thanks, David!)
Philosophical thought of the day. If the eyes are the mirror of the soul, then the soul is a kind of black chasm, a bottomless crater:
Simon Sellars (author of Applied Ballardianism), tells us about the dazzling beauty of Google Earth — which doesn’t so much reside in panoramas or virtual tours, but rather in 3D glitches, rendering errors, misaligned joints that reveal the collage behind 360 views, thus creating altered and distorted perceptions. The map may not be the territory, but it is a territory of the mind.
I like to imagine that when the human species has long since become extinct, alien archaeologists coming to Earth to study mankind will find this video as the only remaining clue:
The book traces the life of Julia Pastrana (Sinaloa, 1834 – Moscow, March 25, 1860), who suffered from hypertrichosis and gingival hypertrophy; as a famous circus performer and “curiosity of nature”, she toured extensively the US and Europe, first with her manager J.W. Beach, and then with her husband Theodore Lent. While on tour in Moscow she gave birth to a child, also suffering from hypertrichosis, who survived for only three days. Julia fell victim to puerperal sepsis and five days later she followed the same fate of her son. After her death, Theodore Lent had both mother and baby embalmed, and continued to exhibit the two mummies in London and across Europe until his own death in 1884. The body of Julia Pastrana was exhibited at various fairs in Norway from 1921 until the 70s, and was eventually forgotten inside a warehouse…
The vicissitudes this woman had to endure, both before and after her death, make her an absolutely unique and relevant figure, so much so that she still inspires artists from all over the world: I think her story is quite exceptional even compared to the already incredible ones of many other freakshow performers, because it contains the germs of many current issues.
To me, Julia Pastrana unwillingly embodied a sort of tragic heroine; and like all the best tragedies, her story is about human cruelty, the clash between nature and culture, the need for love and redemption — but also the ambiguity, the uncertainty of existence. To tell all this, an objective, classic essay would not have been enough. I felt I had to try a different direction, and I decided to let her tell us her story.
Using the first person singular was a rosky choice for two reasons: the first is that there are parts of her existence we know very little about, and above all we ignore what her true feelings were. But this actually allows for a modicum of speculation, and gave me a bit of room for poetic invention even when sticking to historical facts.
The second problem is of an ethical nature, and that is what worried me the most. ulia Pastrana has had to suffer various prejudices which unfortunately are not only a reflection of the era in which she lived: even today, it is hard to imagine a tougher destiny than being born a woman, physically different, and of Mexican nationality. Now, I am none of these three things.
To fully convey the archetypal significance of her life, I tried to approach her with empathy and humility, the only two feelings that allowed me to insert some touches of fantasy without lacking respect.
I really hope that the finished text bears the evidence of this scrupulousness, and that it might entice the reader to an emotional participation in Julia’s troubled life.
Fortunately, the task of doing justice to Julia did not fall on my shoulders alone: Marco Palena, a young and talented illustrator, graced the book with his wonderful works.
Right from our very first discussions, I immediately found he had that same meticulous carefulness — even a bit obsessive at times — that also guided me in reconstructing the historical context where the events took place. The result of this extreme consideration is evident in Marco’s illustrations, which I find particularly sweet and of a rare sensitivity.
Pastrana, who was unfortunate in life as in death, finally found peace in 2013 thanks to the joined efforts of artist Laura Anderson Barbata, governor Mario López Valdez and the Norwegian authorities: her body was transferred from Oslo to Mexico, and buried in Sinaloa de Leyva on February 12 in front of hundreds of people.
Our book is not intended to be yet another biography, but rather a small tribute to an extraordinary woman, and to the indelible mark that her figure left in the collective imagination.
Julia is still alive.
Today Bizzarro Bazar is 10 years old.
I don’t want to indulge in self-congratulations, but allow me a little pride because this is quite an achievement — for all of us.
August 2009. In a dimly lit room, a thirty year old man is typing on a laptop.
The Internet was a different place then, so much so that it feels like a century ago.
Michael Jackson had died less than two months earlier, the news causing all major word websites to crash. Facebook was starting to outnumber MySpace. SMS were the only way to text your friends; in Italy perhaps a dozen people were testing this new esoteric thing called Whatsapp.
The Web looked promising. Many were convinced the internet would be the key to improving things, canceling boundaries and distances, promoting solidarity, forging a new, connected and cooperative humanity.
One fundamental tool for the imminent social revolution (there was no doubt about this) would be blogs, as they were the main tools to democratize culture, making it freely available to all.
If you were looking for a website dedicated to the macabre and the marvelous, you would have surely come across the glorious Morbid Anatomy, which back then was at its peak; there were a few good thematic blogs, but nothing in Italian.
So that afternoon of August 20th I registered the name of this blog on WordPress, wrote a welcome post (with a nod to Monty Python), and I sent an email to a dozen friends inviting them to take a look. My hope was that at least some of them would be interested for a month or two. I needed to tell someone how incredible, terrible and amazing this reality we often take for granted seemed to me. How many unexpected treasures hide behind those things that terrify us most, if we only care to understand.
CUT TO: August 2019. In a dimly lit room, a forty year old man is typing on a laptop.
The magical world of the internet has changed, and it no longer feels that magical.
Many feel harassed by its ubiquitous tentacles that crush every cell of time and life. Users have become customers, and you don’t need to be a hacker to know that the Web is full of dangers and traps. The Internet is today a privileged tool for those who want to spread fear and hatred, erase all diversity, strengthen barriers and boundaries instead of overcoming them. At first glance it would seem that the dream has been crushed.
Yet I am still here, writing on the very same blog. The Internet has remained in many ways an extraordinary space in which new initiatives are organized, different points of view are discovered, in which at times you may even change your mind.
What has all this got to do with a little blog about death, taboos, freakshows, bizarre collections and historical oddities?
In a sense I believe that here, you and I are doing an act of resistance. Not so much in a political sense — the polis cares about what happens inside or around the city walls — but some kind of cultural resistance. One might say we are resisting banality, and reduction of complexity. The lovers of the bizarre are people who prefer questions over answers, and want to explore ever stranger places.
In spite of the incalculable hours I spent studying, writing, answering all the questions from readers (and fixing bugs and server issues, damn), Bizzarro Bazar has always remained an ad-free, uncensored space.
With its 850 posts, it now looks like a mini-encyclopedia of the weird & wonderful. And if I reread some bits here and there, I can see my writing style gradually evolve thanks to your advice and your criticisms.
The web series I released this year on YouTube is a fundamental step in this long journey, carried out with passion and some sacrifices. We have invested so much effort, so many resources in it, and your response has been enthusiastic.
Many of you have expressed the hope that there might be a second season, so let’s get to the point: for the first time Bizzarro Bazar is summoning its army of freak and heretic followers!
We started a campaign on the Italian crowdfunding website produzionidalbasso.com to finance the new season.
Here is the video for our project (be sure to turn on the English subtitles):
This is our only chance at the moment to keep the most anomalous Italian web series alive. But in reality it means much more.
If you help us, what will see the light will no longer be “the Bizzarro Bazar series”, but your own series.
The (Google-translated) page for our campaign is available at THIS LINK.
Shortlink to copy and share with friends: bit.ly/bizzarrobazar Note: for us, the best method to receive a donation is by credit card/wire transfer, because PayPal is bleeding us with very high commissions, but shhhh, I didn’t tell you anything. 😉
Thank you all for these unbelievable ten years, thanks if you’ll be kind enough to consider donating… and to those who will shamelessly spam our project among their acquaintances.
Still and always, vive la Résistance! — in other words,
One, two, three! Watch the elephants standing All the fleas jump Watch out, here comes the trainer!
Vinicio Capossela, I pagliacci (2000)
Fleas that pull carriages and horses, fleas diving into a glass of water from the top of a trampoline, duelling with tiny swords, even shooting themselves from a miniature cannon just like the most famous human cannonballs.
The circus has always thrived on the most extreme, impossible challenges, as only the ordinary is left out of the Big Top. It is therefore only natural that classical animal trainers – who made dangerous and enormous beasts bend the knee – would be featured alongside the opposite end of the spectrum, those tamers who managed to make microscopic creatures perform exceptional stunts.
This is why the Flea Circus is one of the most enduring (albeit misunderstood) sideshow acts.
First of all, let’s address the question that might already cross your mind: are there any fleas in these shows at all, or is it just an optical illusion?
The short answer is that yes, in the beginning real fleas would be used; then gradually the number slipped into the field of illusionism.
It is worthwhile, however, to enjoy the longer answer, retracing the fascinating story of this strange entomological circus – which was invented by an Italian.
A Brief History of the Microscopic Circus
It all started when, in 1578, a London blacksmith named Mark Scalliot, in order to show off his skill, built a tiny lock complete with a key made of iron, steel and brass, for the total weight of “a grain of gold”. He then forged a golden chain composed of 43 rings, so thin that it could be tied around the neck of a flea. The insect pulled the padlock and the key with it.
Almost two centuries later, in the attempt to replicate Scalliot’s publicity stunt, a watchmaker named Sobieski Boverick built an ivory mini-carriage “with figures of six horses attached to it—a coachman on the box, a dog between his legs, four persons inside, two footmen behind, and a postillion on the fore horse, all of which were drawn by a single flea”.
In the 1830s, inspired by these two predecessors, the Genoese emigrant Luigi Bertolotto employed the little pests for the first time in a circus context, exhibiting his trained fleas in Regent Street.
Following in Boverick’s steps, he too proposed the number of the flea pulling a carriage with horses – an element that would later become a mainstay of the genre – but his show went far beyond that: with the typical Italian taste for theatricality, Bertolotto turned his fleas into proper actors.
He made tiny custom-made suits, and delighted his audience with several tableaux vivants featuring several fleas at a time. First of all there was the Arab scene which saw the Sultan as protagonist, with his harem and the odalisques; then came the hematophagous version of Don Quixote and Sancho Panza.
One of the highlights was when the insects did a pocket-size reenactment of the Battle of Waterloo, in which the amused spectators could recognize Napoleon, the Duke of Wellington and Prussian field marshal Blücher, all dressed in uniform. Another part of the show was the fancy ball, in which a pair of insects dressed in gorgeous clothes danced accompanied by an orchestra of 12 elements.
The public was astonished and laughed at the evident satire: here is the lavish world of high society, miniaturized and ridiculed; here are some great war heroes, personified by the lowest animals in all creation. You could have crushed with one finger even the Emperor himself.
Bertolotto became the first (and last) true flea superstar; his fortune was such that he left for an international tour, finally settling in Canada. Imitators soon began to appear, and although they never topped his fame they spread the flea taming act throughout the world.
There were many incarnations of the Flea Circus, ranging from the most basic street performance, often employing a simple suitcase as a stage where fleas made elementary stunts, to more elaborate versions.
The last great flea manager was in all probability William Heckler, a circus performer who at the beginning of the 20th century left his career as a strongman to devote himself full-time to fleas. After touring the United States far and wide, in 1925 his circus became part of the Hubert’s Museum in Times Square.
Here for a few dollars you could see Prince Randian the Human Caterpillar (who would later appear in Tod Browning’s Freaks), Olga the Bearded Woman, Suzie the Elephant-Skinned Girl, and snake charmer Princess Sahloo. Another, smaller princess performed in the museum’s cellar: Princess Rajah, the flea who played the role of the oriental dancer in Professor Heckler’s circus.
In addition to performing traditional athletic feats, such as jumping into a hoop or kicking a ball, Heckler’s fleas played a xylophone (allegedly made of nail clippings), juggled small balls, and staged boxing matches on a miniature ring. Heckler continued to work with his mini-cast until the 1950s: at the height of his success, his show could yield more than $250 a day, the current equivalent of $3,000.
The Infernal Discipline, or How To Tame A Flea
Human fleas, in spite of their annoying bites and the fact that they can be carriers of plague and other dangerous diseases, are actually really extraordinary insects.
Imagine you could jump more than 90 meters vertically, leaping over the Statue of Liberty, and 230 meters horizontally. This, in proportion, is the ability of the pulex irritans.
The muscles of its hind legs are not the only ones responsible for this incredible propulsive force: in fact they prepare the jump by compressing and slowly distorting an elastic pad composed of resilin, which during this “charging” phase is kept locked by a tendon, and can thus store muscle energy. When it comes to jumping, the tendon snaps back into position therefore releasing the pad. The flea takes off with a dizzying acceleration of 100 times the force of gravity. To put things in perspective, a person can only withstand a vertical acceleration of 5g before passing out.
You might then understand how the first and biggest problem a trainer had to solve was how to convince his fleas not to jump off the scene.
For this purpose the insects were kept for a long time in a test tube: they would hit their heads on the glass until they learned that jumping was not an appropriate behavior. A more drastic remedy consisted in gluing them onto the stage or tying them to some object, but this could only work for those elements of the “cast” that were supposed to remain still (for instnace the orchestra players).
As for all the other fleas, which had to perform more complex actions, it was necessary to select those that showed a more docile character (usually females); the bridle was assigned only to the slower ones, which were destined to pull carriages and carts, while the more lively ones became soccer players or divers. All this, of course, if we are to trust the literature of the time on the subject.
In order to force these little daredevils to perform their stunts, various techniques were used – although, to be honest, it’s a bit difficult to view these tricks as a proper “training”.
In fact, if you look at it from a flea’s point of view, the circus appears to be a place of cruelty and terror, in which a sadistic and gigantic jailer is subjecting his prisoners to an endless series of tortures.
Towing fleas were harnessed with a very thin thread of cloth or metal passed around their head; once positioned, this leash would remain there for the insect’s entire life. The difficult part was to exert the right binding pressure, because if the thread was fastened too tight then the flea could no longer swallow, and died.
As for saber-fencing fleas, two small pieces of metal were glued to their frontal limbs; naturally the insects tried to get rid of them, shaking their paws in vain, thus giving the impression of dueling each other.
Soccer players were selected among the fleas that jumped higher: a ball was soaked in insect repellent (often citronella oil, or a disinfectant like Listerine), then pushed towards them as they were kept in a vertical position, and they kicked it away with their hind legs.
Similar trick was used for juggling fleas which were fixed or glued on their back, with their paws up in the air; as they tried to get rid of the toxic ball that was placed over them, they made it roll and spin.
As for the musicians and dancers, an article from 1891 describes the show in detail. Two “dancers” are glued each to one end of a piece of golden paper:
They are placed in a reversed position to each other – one looking one way, the other another way. Thus tied, they are placed in a sort of arena on the top of the musical box; at one end of the box sits an orchestra composed of fleas, each tied to its seat, and having the resemblance of some musical instrument tied on the foremost of their legs.The box is made to play, the exhibitor touches each of the musicians with a bit of stick, and they all begin waving their hands about, as performing an elaborate piece of music. The fleas tied to the gold paper feel the jarring of the box below them, and begin to run round and round as fast as their little legs will carry them. This is called the Flea’s Waltz.
To balance all this horror, let us point out that the flea trainer personally nourished all his precious professionals with his own blood. For the parasites it was certainly a rough and hectic life, but at least they never skipped a meal.
Now you see me, now you don’t:
Illusory Fleas & The Zeitgeist
There does not seem to be a vast literature on fake fleas.
What is certain is that “flea-circuses-without-fleas” began to exist alongside the authentic ones as early as the 1930s. The circus act continued shifting towards the sphere of illusionism and magic until the 1950s, when particularly elaborate versions of the trick began to appear and trainers stopped using real fleas.
Michael Bentine, one of the members of the Goons, had his own circus in which non-existent fleas pushed balls along inclined planes, jumped on a table covered with sand (each jump was “visualized” via a puff of sand), climbed a ladder by “pressing” one step at a time, and splashed into a glass of water. Other fake trainers used magnets and wires to drop the obstacles allegedly knocked off by running fleas, while electric or mechanical gimmicks operated the trapeze and moved the fake fleas balancing on a wire; some mentalists even exploited invisible “telepathic fleas” to read in the minds of the spectators.
Today only one well-known circus still uses real fleas: it is the Floh Circus, which makes its appearance every year at Oktoberfest.
The rest of the few circuses in circulation are all based on illusion: one of the most famous is the Acme Miniature Flea Circus, run by Adam Gertsacov. According to him, this type of show is the purest and most suitable for our times, precisely because it is based on uncertainty:
People watching say, ‘What am I really seeing?’ I like that. You haven’t really been to a flea circus unless you’ve been bamboozled by the flea-circus guy. It would be interesting to watch real trained fleas, but only for three or four minutes. That’s not enough these days when you can Google insects and see them mating, up close and personal. My show is about showmanship.
Perhaps these fake flea circuses imprudently rely on a kind of naivety which no longer exists.
Yet it is true that, in a time when our perception is constantly challenged, these deceptive gadgets take on an unexpected symbolic meaning. Although designed to be harmless and amusing, they are based on the same principles as the far more menacing deep fakes and all those hate and fear narratives we are daily subjected to: every illusion really only works if we want to believe it.
And while Gertsacov and his colleagues continue to claim the superiority of the art of story-telling over mere reality, the fleas – the real ones – are thankful it’s all over.
In the 8th episode of Bizzarro Bazar: the most extraordinary lives of people born with extra limbs; a wax crucifix hides a secret; two specular cases of animal camouflage. [Be sure to turn on English captions.]
ROLL UP! ROLL UP! The great phenomenon of nature, the smallest woman in the world, 70 cm tall, 57 years old, weighing 5 Kg. RITA FANARI, from UXELLUS. She has been blind since the age of 14 and yet she threads yarn throug a needle, she sews, and all this in the presence of the public. She responds to any query. Every day at all hours you can see this great phenomenon.
So read the 1907 billboard announcing the debut on the scene of Rita Fanari. Unfortunately it was not a prestigious stage, but a sideshow at the Santa Reparata fair in the small town of Usellus (Oristano), at the time a very remote town in Sardinia, a community of just over a thousand souls. Rita shared her billboard – and perhaps even the stage – with a taxidermy of a two-headed lamb: we can suppose that whoever made that poster added it because he doubted that the tiny woman, alone, would be able to fascinate the gaze of passers-by… So right from the start, little Rita’s career was certainly not stellar.
Rita Fanari was born on 26 January 1850, daughter of Appolonia Pilloni and Placito Fanari. She suffered from pituitary dwarfism, and her sight abandoned her during adolescence; she lived with her parents until in 1900, when they probably died and she was adopted, at the age of fifty, by the family of Raimondo Orrù. This educated and wealthy man exhibited her in various fairs and village festivals including that of Santa Croce in Oristano. Since she had never found a husband, Rita used to appear on stage wearing the traditional dress for bagadia manna (elderly unmarried woman), and over time she gained enough notoriety to even enter vernacular expressions: when someone sang with a high-pitched voice, people used to mock them by saying “mi paris Arrita Fanài cantendi!” (“You sound like Rita Fanari singing!”).
Rita died in 1913. Her life might seem humble, as negligible as her own stature. A blind little woman, who managed to survive thanks to the interest of a landowner who forced her to perform at village fairs: a person not worthy of note, mildly interesting only to those researching local folklore. One of the “last”, those people whose memory is fogotten by history.
Yet, on closer inspection, her story is significant for more than one reason. Not only she was the only documented case of a Sardinian woman suffering from dwarfism who performed at a sideshow; Rita Fanari was also a rather unusual case for Italy in those years. Let’s try to understand why.
Among all congenital malformations, dwarfism has always attracted particular attention over the centuries. People suffering from this growth deficiency, often considered a sign of good luck and fortune (or even divine incarnations, as apparently was the case among the Egyptians), sometimes enjoyed high favors and were in great demand in all European courts. Owning and even “collecting” dwarfs became an obsession for many rulers, from Sigismund II Augustus to Catherine de’ Medici to the Tsar Peter the Great — who in 1710 organized the scandalous “wedding of dwarfs” I mentioned in this article (Italian only).
The public exhibition of Rita Fanari should therefore not surprise us that much, especially if we think of the success that human wonders were having in traveling circuses and amusement parks around the world. A typical American freak show consisted exactly in what Fanari did: the deformed person would sit on the stage, ready to satisfy the curiosity and answer questions from the spectators (“she responds to any query“, emphasized Rita’s poster).
Yet in the early 1900s the situation in Italy was different compared to the rest of the world. Only in Italian circuses, in fact, the figure of the dwarf clown had evolved into that of the “bagonghi”.
The origin of this term is uncertain, and according to some sources it comes from the surname of a Bolognese chestnut street seller who was 70 centimeters high and who in 1890 was hired by the Circus Guillaume. However, this nickname soon became a generic name identifying a unique act in the circus world. The bagonghi was not a simple “midget clown”, but a complete artist:
The bagonghi does not merely display his deformity, he performs – leaping, juggling, jesting; and he needs, therefore, like any other actor or clown, talent, devotion and long practice of his art. But he also must be from the beginning monstrous and afflicted, which is to say, pathetic. Indeed, there is a pop mythology dear to Italian journalists which insists on seeing all bagonghi as victims of their roles.
A few examples: the bagonghi Giuseppe Rambelli, known as Goliath, was an acrobat as well as an equestrian vaulter; Andrea Bernabè, born in Faenza in 1850, performed as an acrobat on the carpet, a magician, a juggler; Giuseppe Bignoli, born in 1892 – certainly the most famous bagonghi in history – was considered one of the best acrobatic riders tout court, so much so that many circuses were fighting for the chance to book him.
Giuseppe Bignoli (1893-1939)
After the war Francesco Medori and Mario Bolzanella, both employed in the Circo Togni, became famous; the first, a skillful stunter, died trying to tame a terrible fire in 1951; the second hit the headlines when he married Lina Traverso, who was also a little person, and above all when the news brok that a jealous circus chimpazee had scratched the bride in the face. A comic and grotesque scene, perfectly fitting with the classical imagery of the bagonghi, who
can be considered as a sort of Harlequin born between the end of the nineteenth century and the beginning of the twentieth century, and that quickly became a typical character, like those of the commedia dell’arte. The bagonghi is therefore a sort of modern masked “type” that first appeared and was developed within the Italian circus world, and then spread worldwide.
Going back to our Rita Fanari, we can understand why her career as a “great phenomenon of nature” was decidedly unusual and way too old for a time when the audience had already started to favor the show of diversity (a theatrical, choreographic performance) over its simple exhibition.
The fact that her act was more rudimentary than those performed in the rest of Italy can be undoubtedly explained with the rural context she lived in, and with her visual impairment. A handicap that, despite being advertised as a doubtful added value, actually did not allow her to show off any other skill other than to put the thread through the needle’s eye and start sewing. Not exactly a dazzling sight.
Rita was inevitably thelast among the many successful dwarfs, little people like her who in those years were having a huge success under the Big Top, and who sometimes got very rich ( “I spent my whole life amassing a fortune”, Bignoli wrote in his last letter). As she was cut off from actual show business, and incapacitated by her disability, her luck was much more modest; so much so that her very existence would certainly have been forgotten, if a few years ago Dr. Raimondo Orru, the descendant and namesake of her benefactor, had not found some details of her life in the family archives.
But those very circumstances that prevented her from keeping up with the times, also made her “the last one” in a more meaningful sense. Perhaps because of the rustic agro-pastoral context, her act was very old-fashioned. In fact, hers may have been the last historical case in Italy of a person with dwarfism exhibited as a pure lusus naturae, an exotic “freak of nature”, a prodigy to parade and display.
In mainland Italy, as we said, things were already changing. Midgets and dwarfs, well before any other “different” or disabled person, had to prove their desire to overcome their condition, making a show of their skills and courage, performing exceptional stunts.
Along with this idea, and with the definitive pathologization of physical anomalies during the twentieth century, the mythological aura surrounding exceptional, uneven bodies will be lost; and a gaze of pity/admiration will become established. Today, the spectacle of disability is only accepted in these two modes — it’s either tragedy, the true motor of charity events and telethons, or the exemplum, the heroic overcoming of the disabled person’s own “limits”, with all the plethora of inspirational, motivational, life-affirming anecdotes that come with it.
It is impossible to know precisely how the villagers considered Rita at the time. Was she the object of ridicule, or wonder?
The only element available to us, that billboard from 1907, definitely shows her as an admirable creature in herself. In this sense Rita was really someone out of the past, because she presented herself in the public eye just for what she was. The last of the dwarfs of times past, who had the capacity to fascinate without having to do acrobatics: she needed nothing more than herself and her extraordinary figure, half old half child, to be at least considered worthy the price of admission.
In the seventh episode of Bizzarro Bazar: the tragic and startling story of the Sutherland Sisters; a piece of the Moon which fell to Earth; a creature halfway between the plant kingdom and the animal kingdom. [Be sure to turn on English captions.]
Some time ago I wrote a piece about those peculiar epiphanies linking different points on our mental map, which we thought were distant from each other, those unexpected convergences between stories and characters which at first glance appear to be unrelated.
Here’s another one: what do the preserved corpse of Jeremy Bentham (1), the famous Duchenne study on facial expressions (2), the amusement park museum in Paris (3) and anatomical waxes (4) have in common?
The link between all those things is one man: Jules Talrich, born in Paris in 1826.
The Talrich family came from Perpignan, in the Pyrenees. There Jules’s grandfather, Thadée, had been chief surgeon at the local hospital; there his father, Jacques, had worked as a military surgeon before moving to Paris, two years prior to Jules’ birth.
As a child, therefore, Jules grew up in contact with medicine and the anatomical practice. In fact, his father had become famous for his wax models; this renown earned him a post as official ceroplast at the Faculty of Medicine in Paris in 1824. We can imagine little Jules running around in his father’s workshop, looking at his dad with admiration as he worked on his écorchés (flayed) models.
When he was only 6 years old, in 1832, Jules probably saw his father modeling the head of Jeremy Bentham.
The famous utilitarian philosopher had decided, a couple of years before he died, that his body should have been publicly dissected, embalmed and exposed in a case. But the process of mummification on his head, carried out by an anatomist friend of Bentham, Southwood Smith, had not given the expected results: the skin on his face had become dark and shriveled, and was judged excessively macabre. So Jacques Talrich – whose reputation as a ceroplast extended across the Channel – had been commissioned a wax reproduction of Bentham’s head. The so-called “auto icon” is still exhibited today in a hallway at the University College of London.
So it was that the young Jules grew up surrounded by wax models, and taking part in his father’s dissections of corpses in the Faculty of Medicine. When he was little more than a boy, he began working as a “prosector”, i.e. dissecting and preparing anatomical pieces to be used during class at the University; in his dad’s laboratory, he soon learned the art of replicating with molten wax the most intricate muscular and vascular structures of the human body.
When Jacques died in 1851, Jules Talrich inherited the family business. In 1862 he was appointed ceroplast at the University, the same place that his father had occupied for so many years; and just like his father, Jules also became renowned for his wax and plaster anatomical models, both normal and pathological, which on the account of their exquisite workmanship were commissioned and exhibited in several museums, and turned out a huge success in several Universal Expositions.
Besides a vast scientific production, the Maison Talrich provided services in the funeral business, modeling funeral masks or reconstructing illustrious faces such as that of Cardinal Richelieu, realized from his embalmed head. The ability of the French ceroplast also turned out to be useful in some criminal cases, for example to identify the corpse of a woman cut in half which was found in the Seine in 1876. Talrich’s waxes were also highly requested in the religious field, and the company made several important wax effigies of saints and martyrs.
However, Talrich also influenced the world of entertainment and traveling fairs, at least to some extent. At the beginning of 1866 on the Grands Boulevards he opened his “Musée Français”, a wax museum in the spirit of the famous Madame Tussauds in London.
Talrich’s exhibition had a markedly mainstream appeal: upstairs, the public could see aome literary, historical and mythological characters (from Adam and Eve to Don Quixote, from Hercules to Vesalius), while for a surcharge of 5 francs one could access the underground floor, by descending a narrow spiral staircase. Here, in a calculated “chamber of horrors” atmosphere, were collected the most morbid attractions — torture scenes, pathological waxes, and so on. The visit ended with the illusion of the “Talking Head” illusion, patented by Professor Pepper (also inventor of the Pepper’s ghost); unfortunately the public soon realized that the effect was achieved by hiding an actor’s body behind two mirrors, and in a short time the real entertainment for the crowd became throwing paper balls on the poor man’s head.
The fact that a renowned and serious ceroplast, with a permanent job at the University, devoted himself to this kind of popular entertainment should not be astonishing. His museum, in fact, was part of a larger movement that in the second half of the 19th century brought anatomy into circuses and traveling fairs, a kind of attraction balancing between science, education and sensationalism.
In those years nearly every sideshow had a wax museum. And in it,
pedagogical figures had to provide information on distant populations and on the mysteries of procreation, they had to explain why one needed to wash and abstain from drinking too much, to show the perils of venereal diseases and the ambiguities of consanguinity. It was an illustrated morality, but also an opportunity to gaze at the forbidden in good conscience, to become a voyeur by virtue. A summary of the perversities of bourgeois civilization.
A strange and ambiguous mixture of science and entertainment:
Traveling anatomical museums found their place at the fair, alongside the pavilions of scientific popularization, historical wax museums and other dioramas, all manifestations of the transition from high culture to popular culture. These new types of museums differed from the pedagogical university museums on the account of their purpose and the type of public they were intended for: contrary to academical institutions, they had to touch the general public of traveling fairs as lucrative attractions, which explains the spectacular nature of some pieces. And yet, they never completely lost their pedagogical vocation, although retranslated in a moralizing sense, as testified by the common collections about “social hygiene”.
The Musée Français was short-lived, and Talrich was forced to close after less than two years of activity; in 1876, he opened a second museum near Montmartre, this time a more scientific (albeit still voyeuristic) installation. Almost 300 pathological models were exposed here, as well as some ethnological waxes.
But besides his own museums, Jules Talrich supplied waxworks and plaster models for a whole range of other collections — both stable and itinerant — such as the Musée Grevin, the Grand Panopticum de l’Univers or the very famous Spitzner Museum.
In fact, many of the pieces circulating in amusement parks were made by Talrich; and some of these anatomical waxes, together with real pathological and teratological preparations, are now kept in a “secret cabinet” inside the Musée des Arts Forains at the Pavillons de Bercy in Paris. (This museum, entirely dedicated to traveling carnivals, is in my opinion one of the most marvelous places in the world and, ça va sans dire, I have included it in my book Paris Mirabilia).
Jules Talrich retired in 1903, but his grandchildren continued the business for some time. Jules and his father Jacques are remembered as the greatest French ceroplasts, together with Jean-Baptiste Laumonier (1749-1818), Jules Baretta (1834-1923) and Charles Jumelin (1848-1924).
In closing, here’s one last curiosity — as well as the last “convergence”, of the four I mentioned at the beginning.
Several photographs of Jules Talrich exist, and for a peculilar reason. A lover of physiognomy and phrenology himself, Jules agreed in 1861 to take part in Guillaume Duchenne‘s experiments on how facial expressions are connected to emotions. The shots depicting Talrich were included by Duchenne in his Mécanisme de la physionomie humaine, published the following year.
But Jules’ beautiful face, with his iconic mustache, is also visible in some plasterwork, which Talrich provided with his own features: whether this was simply an artist’s whim, or a symbolic meditation on his own mortality, we will never know.