L'eidoloscope ← 1895 (nº 156 Broadway, [1^er janvier] 1896->20 juin 1896)

 ←1895

L'eidoloscope de Broadway est toujours en fonctionnement au mois de mai 1896 à l'occasion de la présentation de la corrida (Bull Fight) tournée au Mexique en mars 1896.

The Sun, New York, 6 mai 1896, p. 10.

Une dernière annonce est publiée le 20 juin (New York Herald, New York, samedi 20 juin 1896, p. 16).

Répertoire (autres titres) : Evening Telegram Cycle Parade (The Evening Telegram, New York, 12 juin 1896), Flourette's Skirt Dance in Colors, Manoeuvres of Squadron A.N.G.S.N.Y., Mexican Engineer Corps Drill, Whirlpool Rapids, Niagara (The Sun, Nevw York, 13 juin 1896).

L'eidoloscope (St James Hotel, 26th Street, <6 mai>-20 juin 1896)

Alors que l'eidoloscope de Broadway fonctionne toujours, une autre salle, sur la 26^e rue, présente également des vues animées.

The Sun, New York, 6 mai 1896, p. 10.

Le clou est constitué par la course de taureaux, Bull Fight,  tournée au Mexique, en mars 1896. L'adresse, qui reste vague dans les annonces, est en réalité celle du St-James Hotel, comme le confirme l'entrefilet suivant :

A Bull Fight
Sporting men in this city and New York have taken unusual interest in the great Mexican bull fight, which is being reproduced photographically by the Eidoloscope daily at the St. James Hotel, Twenty-sixth street and Broadway, New York.

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The Daily Standard Union, New York (Booklyn), Monday, June 8, 1896, p. 8.

St. James Hotel & Restaurant, Broadway cor. 26th St. © New York Public Library	Hotel Hotel St. James, Broadway & 26th Street (1896) © Museum of the City of New York

Une dernière annonce est publiée le 20 juin (New York Herald, New York, samedi 20 juin 1896, p. 16).

Répertoire (autres titres) : Evening Telegram Cycle Parade (The Evening Telegram, New York, 12 juin 1896), Flourette's Skirt Dance in Colors, Manoeuvres of Squadron A.N.G.S.N.Y., Mexican Engineer Corps Drill, Whirlpool Rapids, Niagara (The Sun, New York, 13 juin 1896).

L'eidoloscope (Hammerstein's Olympia, <10 mai->20 juin 1896)

Au Hammerstein's Olympia, l'eidoloscope  offre des projections de vues animées dans l'attente de l'arrivée du célèbre transformiste italien Frégoli, à la mi-mai 1896. 

Theatre, Olympia, B'way 44th & 45th Sts., Hammerstein's (1898) © Museum of the City of New York	The World, New York, 17 mai 1896, p. 14

Alors que ce dernier est sur le point d'arrivée, un incident inattendu retarde son spectacle laissant pour quelques jours la place à l'eidoloscope :

Fregoli Did Not Appear.
The much heralded Fregoli did not appear at the Olympia Music-Hall last night, as thesteamship Kaiser Wilhelm did not arrive in time, with all or even one of his four voice. Fregoli will sing and act to-night, however, when the few folks who pretended not to have received their money's worth last evening can use the tickets that were given to them by the conscientious management and see the whole show over again for nothing.
The absence of this quartet person left the" eidoloscope" quite the most wonderful part of the entertainment. Perhaps it would have been anyway, for the fact that the "eidoloscope" is the "vitascope" under another and poorer name does not in the least interfere with the fact that the scenes it shows are calculated to make even the stories about the powers of ancient magicians, not to speak of the magicians themselves, seem commonplace. The audience literally saw the Niagara rapids, the Easter parade on Fifth Avenue, the drill of a company of soldier, and a bullfight. The latter spectacle was intensely interesting, and often gave the observer a thrill of real fear or of real anger. Here-after one need not go to Spain or Mexico to convince himself that, morally, the “sport” of bullfighting ranks below that of picking pockets, and cannot be compared with that of pulling off the wings of files. A mean, cruel, cowardly, dirty gam was what the “eidoloscope" revealed, and every decent man who saw it must have gone away from Olympia with a better understanding of Spanish history, ancient and modern, than a thousand books could have given.
As for the "marblesques,” they were rather ineffective reproductions of several well-known statues, made in the old "living-picture" way. In each of them was one or two women dressedin what looked like chalk.

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The New York Times, New York, Tuesday, May 1896, p. 5.

Un autre journal signale, par ailleurs, la qualité assez médiocre de la projection :

FREGOLI'S TRUNKS WEW DELAYED.
{...]
The eidoloscope would have been exceedingly interesting and instructive had the moving pictures been properly focused, but unfortunatel y the y were not, and so the effect of the bull fight was lost and the attractions of Easter Sunday on Fifth avenue and the whirlpool rapids at Niagara were only hinted at. Both of these results of Mr. Hammerstein's disappointment may be readily overcome and the Olympia will become in truth what Mr. Hammerstein has given New York reason to expect, a remarkably attractive piece of amusement-particularly when Fregoll makes his debut...

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The New York Herald, New York, Tuesday, May 12, 1896, p. 9.

L'eidoloscope partage ensuite l'affiche avec Leopoldo Frégoli. La dernière annonce est publiée dans The New York Dramatic Mirror (New York, 20 juin 1896, p. 17). 

L'eidoloscope (Bijou Theatre, [27] juin-[6] juillet 1896)

L'eidoloscope est annoncé à partir du 27 juin 1896, au Bijou Theatre :

The New York Herald, New York, Saturday, June, 27, 1896, p. 1.

Les articles donnent deux titres du répertoire : Bull Fight et Bicycle Parade. D'autres journaux publient des annonces encore plus lapidaires :

AMUSEMENTS TO-DAY AND EVENING.
[...]
Bijou.-Eidoloscope.

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New York Herald, New York, Friday, July 3, 1896, p. 8.

The Sun est à peine plus prolixe :

At the Bijou the eidoloscope puts soldiers, bicyclists, and dancers upon a screen in pictures that show the subjects actions naturally. The displays are given both afternoon and evening.

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The Sun, New York, Sunday, July 5, 1896, p. 5.

Le Cinématographe Lumière de la concession de M. Hurd (Keith's Union Square Theater, 29 juin-[29] novembre 1896)

À l'instar de ce qu'ils font dans le reste du monde, les Lumière vont mettre en place aux États-Unis, une concession classique. C'est M. Hurd qui en est le responsable, aux dires de Félix Mesguich, et M. W. Allen en est son représentant-impresario. Les locaux sont situés 29 W 30 th.

The New Dramatic Mirror, New York, 10 octobre 1896, p. 15.

Benjamin F. Keith, propriétaire d'un important circuit de salles, va acquérir les droits d'exploitation du cinématographe Lumière pour son réseau. Comme il se doit, c'est New York qui est la première ville américaine à découvrir les images animées que propose l'appareil des frères lyonnais. Nous ignorons, pour l'heure, le nom de l'opérateur français qui est chargé de la projection des films. De façon tout à fait conventionnelle, une séance privée, réservée à la presse, est organisée le 27 juin 1896 :

One of the several English equivalents of the vitascope. called the Lumiere Clnematographe will be placed on exhibition at Keith's Union Square Theatre to-morrow night. It is much better than its name, as was proved at private view yesterday morning. It is said to be the first stereopticon kinetoscope exhibited. Its pictures are clear and interesting. One represents the arrival and departure of mail trains in a railroad station, another the bathing pier at Nice -at the height of the season. Charles Dickson and Lillian Burkhardt will appear this week, in “The Salt Cellar," and all the continuous show will be up to the mark.

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The New York Times, New York, 28 juin 1896, p. 10.

C'est finalement le surlendemain, le 29 juin 1896, que la première séance publique a lieu au Keith's Union Square Theatre. La presse relaie largement la nouvelle et de nombreux quotidiens font l'éloge du cinématographe Lumière. Lors de ces premières séances, le programme est constitué de classiques qui ont déjà fait leurs preuves dans d'autres villes françaises ou étrangères : 

THE CINEMATOGRAPHE AT KEITH'S • The Lumiere Cinematographe, which is the feature of the bill at Keith's Union Square Theatre this week, was exhibited at a special morning matinee for the press on Saturday.
A large number of newspaper men gathered, and watched the pictures as they were thrown upon a screen. Some of them were so lifelike that the blasé scribes were moved to applaud.
The Cinematographe is worked in the same way as the Vitascope and the Eideloscope, but the pictures are clearer and there is less vibration, so that the pictures are not so trying to the eyes as those produced by other machines.
The first view was “A Dip in the Sea” and showed several little boys running along a plank on stilts, and diving into the waves, which dashed upon the shore in the most natural manner. The second picture showed a lawn with a gardener using a hose to sprinkle it. A bad boy steps on the hose, causing the water to squirt into the gardener's face. He drops the hose, runs after the boy, and gives him a sound thrashing.
A street scene in London was very realistic, and "The Charge of the Seventh French Cuirasseurs” was very inspiring.
The best picture was “The Arrival of the Mail Train.” The train came into the station, passengers alighted, met their friends and walked about, and all the bustle incident to affairs of this kind was shown to perfection.
Other pictures were "Washing Day in Switzerland”, “Parade of the Ninety-sixth French Infantry”, “A Friendly Boxing Bout,”, “Hyde Park, London”, “The Cascade”, and "The Messrs. Lumiere at Cards”.
The Cinematographe is the invention of M. Lumiere, a photographer of Lyons, who keeps an immense establishment, employing over four hundred hands. His invention was first shown in, Paris in November, 1895. It became the craze at once, and it is now being shown at twenty-two places in Paris alone, as well as in nearly every other city on the Continent.
It was put on in London at the Empire, in February, 1896, and created a sensation. Matinees. had to be given every day to accommodate the crowds. It is now being exhibited at three of the London halls.
The Cinematographe can be worked either with a calcium or electric light. A photographer is now on his way from. Europe, who will take views in New York, which will be shown, and, which will no doubt prove even more interesting; than those now in stock.

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New York Dramatic Mirror, New York, 4 juillet 1896, p. 17.

The Sun, New York, 27 juin 1896, p. 10	Keth's Union Square Theater, New York, c. 1895 [D.R.]

L'article comporte un certain nombre d'inexactitudes autant sur la "`première" parisienne que sur le nombre de postes dans la capitale (22 !!) et l'on sent bien qu'il est l'œuvre d'un publiciste ou d'un journaliste complaisant. Si l'on en juge par la permanence du cinématographe au Keith`s Union Square Theater, le succès est au rendez-vous.

Si l'on ignore le nom des opérateurs qui travaillent au cours des premières semaines, à la fin du mois d'août, ce sont Émile Guyot et Alexandre Vallet qui vont s'occuper de l'appareil :

Nous donnions deux séances par jour au "Kits Theater" [Keith]. Nous passions avec un spectacle de music-hall, danseurs, patineurs à roulettes, chanteurs. L'entrée coûtait deux dollars et chaque fois c'était le gros succès, les mêmes félicitations. Malheureusement, ne sachant pas l'anglais, je n'ai jamais compris un mot de ces congratulations !
Après New-York, nous avons émigré à Washington, Norfolk, dans le Connecticut, dans l'usine d'un riche soyeux, dans des villes dont j'ai oublié le nom. Songez que c'était en 1896 ! Il y aura quarante ans au mois de juillet.

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Jany CASANOVA, "Après avoir introduit le cinéma en Amérique Emile Guyot est devenu marchand des quatre-saisons", Lyon, 16 avril 1936, Paris-Soir, Paris, 19 avril 1936, p. 8.

Répertoire (autres titres) : A Battle with Sabres between two squadrons of Hussars (The Word, New York, 7 juillet 1896, p. 8), The factory of the Messrs. Lumiere (The New York Dramatic Mirror, New York , 11 juillet 1896), Burning Field Waste in Brittany (The Sun, New York, 15 juillet 1896, p. 7), The Arabian Cortege,  A Game of Backgammon (The New York Dramatic Mirror, New York, 25 juillet 1896, p. 17), les films du Couronnement du Czar (The Sun, New York, 2 août 1896, p. 1), Procession at the Czar's Coronation, Czar and Czarina at Church, Russian National Dance (The New York Dramatic Mirror, New York, 8 août 1896, p. 17),  Negroes Bathing Party, French Sardine Fishers, Babies' Quarrel, French "Shooting the Chutes", German Manner of Making Frankfurters (The Sun, New York, 9 août 1896, p. 9), Arrival of the Guests, Boys' Boating Party, A Colored Bathing Party (The New York Dramatic Mirror, New York, 15 août 1896, p. 17), Feeding the Goats, The Premiere Dancer, The Swan (The New York Dramatic Mirror, New York, 29 août 1896, p. 17), A London Fire brigade answering an alarm (The New York Times, New York, 18 octobre 1896, p. 27), Demolition of Building, Emperor Francis Joseph at Budapest, Cavalry Battle, Pigeons in Venice, Aquarium (The New York Dramatic Mirror, New York, 24 octobre 1896, p. 9). C'est au bout de cinq mois que les séances vont s'interrompre au Keith's Union Square Theater. La fin de l'exploitation, vers le 29 novembre 1896 (The Sun, New York, 29 novembe 1896) dans cette salle marque, sans doute, un changement ou une fin temporaire au moins du rôle de Benjamin F. Keith.

L'eidoloscope (Ellis Island, < août 1896)

C'est grâce à un entrefilet, au moment de la fin de l'Eidoloscope Company, que nous connaissons l'existence d'un eidoloscope sur Ellis Island :

BUSINESS TROUBLES
Eidoloscope Company.-The Eidoloscope Company, of Nº101 Beekman and Nº 22 William streets, which was attached by the Sheriff a few days ago, made an assignment yesterday to Philip B. Veiller. The assignment includes eidoloscopes and exhibition films at Providence, R. I.; Atlantic City, Coney Island and in this city. Lindley Vinton is president.

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New York Herald, New York, Sunday, August 2, 1896, p. 5.

Le Cinématographe Lumière de la concession de M. Hurd  (Old Post Office, 317 Washington Street, 14 août-30 octobre 1896)

Post Office, Washington Street (1875) 
© Old NYC Photos

Moins de deux mois après les premières séances new-yorkaises, un autre appareil Lumière va à son tour, et en parallèle, proposer des séances à Brooklyn, 317 Washington street, dans l'ancien bâtiment de la poste. Dans ce cas, quel est le concessionnaire ? S'agit-il toujours de Benjamin F. Keith, ou plus probablement, un autre personnage ? Ce qui ressort de la presse, c'est que les deux postes ne sont pas en compétition :

[...] New views will arrive from Europe to-day and will be shown in the Brooklyn machines on Monday before theya are sent out to Keith's Union square theater, New York, and to he various cities in which cinematographs are on exhibition.

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The Brooklyn Daily Eagles, New York, 18 octobre 1896, p. 24.

Lumière's Cinématographe. 317 Washington Street (1896)
Source: Collection François Binétruy

Par ailleurs, les comptes rendus des séances ne donnent que rarement le nom des opérateurs. Ce que nous savons, c'est que quelques jours avant sont arrivés, au moins, quatre opérateurs Lumière, par la Bretagne, qui accoste le 27 juillet 1896, à New York : Arthur Bouliech, Henry Tett, Joseph Millet et Édouard Porta, mais nous ignorons sur quel poste, ils sont attachés. La mise en place des séances dans l'ancien bureau de poste, 317 Washington st. se fait dans les premiers jours du mois d'août et une petite annonce est publiée afin de recruter un pianiste pour les futures projections :

WANTED-PIANIST-ON WHO CAN PLAY cornet also, preferred, for Lumiere's Cenematographe; hours 2 to 10 P.M. Appply at 317 Washington st. Mondey, 9 to 3.

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The Brooklyn Daily Eagle, New York, 9 août 1896, p. 14.

Un séance privée est organisée dès le 14 août 1896. Le journaliste, outre des éléments techniques, nous informe sur les premiers films que propose ce second appareil Lumière :

THE CINMATOGRAPHE [sic]
Wonderful Reproductions of Out of Door Photographs Shown
A private exhibition was given this morning in the old post office building, on Washington street, of Lumiere’s cinmatographe, which will open to the public there on Monday. The principle on which the pictures are made is the same as in Edison’s vitascope; that is, a great many instantaneous photographs of a scene are reduced to small size, pasted upon a strip and run through a lantern which shows the views upon a large sheet, as is done with magic lantern slides. The effect is a reproduction of the actual scene with the motions of the figures, the blowing of the wind and the splashing of the water reproduced as perfectly as if one saw the original. The special beauty of the cinmatographe pictures is that the Messrs. Lumiere of Lyons, France, the inventors, are among the most noted and artistic photographers of out of door scenes in Europe. They take themselves all the pictures used in their machines and are thus enabled to insure an artistic value to their exhibitions, which it is very difficult for photographers of less skill to secure. The pictures shown yesterday were all European, the firm not having as yet sent men to this country to photograph scenes for their exhibitions. But their lifelikeness was wonderful and the clearness of the backgrounds and the beauty of the light effects were in the highest degree artistic. There was, too, very little vibration on the part of the reproducing machine, so that the results were less marred than usual. There was a Spanish cavalry charge in which the horses dashed down and apparently through the footlights into the audience; a Spanish infantry drill; a picture of one of the Messrs. Lumiere dining in a garden with is wife and little girl, and another picture of a baby quarrel at a table in the open air, in which the expressions of the children were wonderfully lifelike dancing soldiers accompanied by the music of a dancing orchestra in which the rhythm as strongly marked and some outdoor scenes in which the distance and luminous quality of the backgrounds suggested the work of a great landscape artist. The pictures cover a wide range of subjects, but they will be of special interest to those who know something of the artistic side of photography. The strips from which the pictures are reproduced have all the way from 1,100 to 1,400 small pictures pasted upon the strip, and it is the rapid unrolling of these before the lens which gives the effect of life to the scenes. But it is the artistic quality of the original photographs which ranks the exhibition above others of the same general kind. The exhibitions will las from 2 o’clock until 10 daily.

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The Brooklyn Daily Eagle, New York, 15 août 1896, p. 2.

The Brooklyn Daily Eagle, New York, 16 août 1896, p. 15

La presse locale publie régulièrement des articles dans lesquels reviennent les mêmes points et permettent de connaître de façon assez complète le corpus des vues projetées :

The Lumiere cinematographe exhibitions in the old post office building, on Washington street, will be continued this week, with this list of views: Removing a Tree, French scene; Babies' Quarrel, by request: Champs Elysee, Paris; Mechanical Charcuterie; Bathing on French Coast, by request; Ninety-sixth French Infantry, by request; London Street scene, by request; Royal Spanish Lancers; Shooting Chutes, Geneva exposition, and Arrival Train at French Station. The special military views will be shown on every Wednesday night hereafter. Mr. Alexander Promio, artistic photographer, sailed for France Friday, after an extended tour through the United States. Mr. Promio has during his stay taken views of the most interesting sights in our country, and as soon as these Mr. Promio for his scientific results in photography has been decorated by the Queen of Spain recently.

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The Brooklyn Daily Eagle, New York, dimanche 27 septembre 1896, p. 24.

Lumiere's Cinématographe. 317 Washington St.
Source: Collection François Binétruy

Après plus de deux mois de succès, l'appareil quitte Washington Street, pour s'installer à partir du 28 octobre, au 515, Fulton street (The Brooklyn Daily Eagle, New York, 27 octobre 1896, p. 8). 

Le Biograph (Columbia Theater, 28->28 septembre 1896)

En provenance de Philadelphie, la troupe d'Eugen Sandow inaugure des séances à la fin du mois de septembre. Au programme, il y a le Biograph:

Charles B. Jefferson, manager, who usually knows what the public wants as well as anybody in the theatrical business wants as well as anybody in the theatrical business, has gone into vaudeville this season, and he will present at the Columbia this week a company which includes some of the most noted performers on the specialty stage, and which will give several novelties. It is called Sandow's Olympia, and at the head of it is Eugene Sandow, who is said without much contradiction to be the strongest man now before the public, and who is certainly the handsomest athlete on the stage. [...] No vaudeville show is complete now without some form of the photographic invention, which Edison called the vitascope, and for which other proprietors have various names. The machine with this company is called the biograph, and it has some new and exclusive pictures, including three of scenes from "Rip Van Winkle," with Joseph Jefferson as Rip, and others showing the visit of Li Hung Chang to General Grant's tomb. These pictures will be shown at the close of the performance.

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The Brooklyn Daily Eagle, Brooklyn, dimanche 27 septembre 1896, p. 24.

The Brooklyn Daily Eagle, Brooklyn, lundi 28 septembre  1896, p. 2.

Répertoire (autres titres) : Trilby, Joe Jefferson giving his famous toast in "Rip Van Winkle", The rear of a Pennsylvania Railroad car running on lightning express time, A bathing scene at Atlantic City, A negro woman is bathing a pickaninny (The Standard Union, New York, mardi 29 septembre 1896, p. 8).

Le Biograph (Hammerstein's Olympia, <12> octobre 1896)

Hammerstein's Olympia (Broadway and 44th Street). 1898.
Source: Museum of the City of New York.

Dans les premiers jours d'octobre, le Biograph commence des projections animées à l'Olympia :

Major William McKinley will appear tonight in New York before a great throng of people, which will include members of the Republican National Committee, and in all probability, Mr. and Mrs. Garret A. Hobart.Major McKinley will not make a speech. He will talk with a friend, and then retire to his dwelling, which it may be remarked, will appear along with him.
The new wonder in instantaneous, photography and enlarged reproduction of photographic plates, called the biograph, is the medium through which the distinguished statesman will make his appearance, apparently on the lawn of his house in Canton, full life size, and in action so perfectly natural, that only the preinformed will know that they are looking upon shadow and not upon substance.
Immediately following Major McKinley's presentation will be a reproduction of the great parade of the McKinley and Hobart Sound Money Club at Canton. The paraders will be seen to march in solid phalanx, to halt, to throw up their hats, to reform and to march on again. They will advance down the stage, apparently to walk over the footlights; they will march across and back, then turn and march back until they seem to be lost in the distance, and so deep will be the vista that it will look as though the entire back of the stage had been taken out. Following this will be the Empire State Express, running at full speed, full actual size, and with such realistic effect that it seems to be coming straight out to crush its way through the spectators.
All this is to be at Hammerstein's Olympia to-night. Eight boxes have been secured and especially decorated for the National Committee, which will include Matthew Stanley Quay, Col. William McKinley Osborne, Cornelius N. Bliss, Joseph H. Manley, Secretary Perkins, Jules Guthridge, Richard S. Quay, C. M. Bawsall, T. S. Wilson, H. S. Dukes and P. J. McHenry. A delegation from the Commercial Travelers' Sound Money League will occupy three boxes. In the center of the house 100 straight out Republicans, led by Senator Gibbs, will occupy seats. and it is expected that a large delegation of railroad men which is coming from the New York Central will be headed by two prominent officials of the company.
The biograph seems to be the limit of realism in enlarged photographic reproduction. It is constructed on a principle similar to the vitascope, which succeeded the eidoscope, and is said to be as far ahead of the former invention in the perfection of its startling realistic reproductions, as the vitascope is ahead of the kinetoscope, which was regarded as a marvel of inventive genius. Instantaneous photographs of figures in motion are first taken by an entirely new process on a great number of rapidly revolving plates. These are enlarged, and with a powerful set of lenses and an intense steady white light the pictures are thrown on a screen with such rapidity that every motion is secured in the instantaneous photograph, even to the driving wheels of a locomotive, running at sixty miles an hour.
The picture thus shown is not flat - in fact, it can not be distinguished as a picture at all, even with the strongest opera glasses. The figures stand out in bold, round relief, and the perspective is something wonderful. There is no clicking noise to disturb the illusion, and prosaic indeed is the mind that can look upon the rapidly shifting scenes and believe it to be unreal. Major McKinley is likely to get an ovation to-night when he advances to the footlights.

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New York Mail and Express, New York, 12 octobre 1896, 

Plusieurs journaux offrent des comptes rendus de ces projections. C'est le cas du New York Mail and Express :

The star attraction at Hammerstein's vaudeville performance last night was the biograph, an invention on the same order as the vitascope, the eidoloscope, and the cinematographe. The results, however, obtained by the biograph, are different, specially in the absence of the flicker and "jump" noticeable in other instruments. The management was fortunate in the subjects presented, which aroused the greatest enthusiasm. The scene of the McKinley and Hobart parade at Canton called forth great applause, but when a few minutes later the audience caucht sight of the next President himself, "in the flesh," pandemonium broke loose for five minutes. Men stood up in their seats and yelled with might and main, and flags were waved by dainty hands that would fain cast a vote on November 3 for the good cause. To satisfy the audience the Major was brought forth again with like result. There he stood on his much betrampled lawn at Canton, talking to his son. Leisurely he read a telegram of congratulation, and then, turning, he cam etoward the excited audience, until it seemed as though he were about to step down into their very midst. But at that moment came the edge of the curtain and he vanished round the corner to address a delegation of workingmen.

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New York Mail and Express, New York, 13 octobre 1896. 

Le New York Tribute propose également un article :

Anybody who thinks that the enthusiasm of the modern music hall audience is all for European singers of questionable propriety should have been at the Olympia Music Hall last night. The audience went fairly frantic over pictures thrown on a screen. Several machines for the throwing of moving pictures have been shown here, but the new biograph, for all its horrible name, is the best of all of them. The biggest part of enthusiasm began when a view of a McKinley and Hobart parade in Canton was shown. The cheering was incessant as long as the line was passing across the screen, and it grew much greater when the title of the next picture appeared: "Major McKinley at home." Major McKinley was seen to come down the steps of his house with his secretary. The secretary handed him a paper, which he opened and read. Then he took off his hat and advanced to meet a visiting delegation.
The biograph showed some other interesting pictures, notably one of the Empire State Express rounding a curve, which was one of the best, if not the very best, moving picture that has yet been exhibited here. Seven boxes were occupied by members of the National Republican Committee and their friends, who came to see Major McKinley walk across the lawn.

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New York Tribune, New York, 13 octobre 1896.

C'est également le cas du New York Times :

THE BIOGRAPH AT OLYMPIA.
A Notable Company of Spectators, Political and Otherwise.
Gen. PowelI Clayton stood at "attention" in Olympia Music Hall at 9:45 o'clock. From that hour the gallant Arkansaw fighter never took his attention from the stage until the political part of the programme was ended with the " intermission."
It was McKinley night at the Olympla, although Bryan came in for individual representation and a few hisses. Sound money sentiment was in possession of every seat and box. And, to spur it on, were many leaders of the Republican Party in conspicuous boxes, behind the Stars and Stripes, and in the company of smartly dressed women.
Cornelius N. Bliss helped Matthew Stanley Quay and W. B. Scott to show their appreciation. Gen. William McKinley Osborne and Joseph H. Manley tried to be a chorus to Melville E. Stone's solos of approval, while Mr. Perkins, Mark Hanna's private secretary, and the ladies in the party were successfully outvying the rival trio.
Gen. Charles H. T. Collis and C. M. Meade were conspicuous in a party. C. F. Weeks bad a box in the centre of the first tier and Gen. Horace Porter, Col. A. W. Soper, and a party of ladies were not far away.
Frederick S. Gibbs was present, and General Passenger Agent Daniels of the New-York Central Railroad stuck to his post until he saw a marvelously moving picture of one of the greatest achievements of the company with which he is connected.
Amann, the Impersonator, prepared the way for enthusiastic outbursts by giving lifelike representations of McKinley and Palmer, but the triumph of the night was in the so-called " biograph." It is wonderful in its presentation, after the manner of the vitascope and kindred Inventions, of life and action.
McKinley stepped out of his house in Canton, and, strolling down his lawn, seemed to smile in appreciation of the roar that greeted his appearance. McKinley paraders tramped through Canton streets, and a New-York assemblage applauded them to the echo Niagara Falls made a realistic pouring picture, but their noise in the original could not be much louder than the cheers that greeted the picture of them.
The finest of all these pictures was one of the Empire State Express going at sixty miles speed. The train is seen coming out of a distant smoke cloud that, marks the beginning of a curve. The smoke puffs grow denser on the vision, and soon coach after coach whirrs to the front, and it seems as though the entire left-hand section of the house would soon be under the wheels that are racing for New-York. The cheers that greeted the picture and its repetition were as great as those for McKinley, and, in taking part in them, Mr. Daniels found his opportunity.
The other pictures, represent " A Stable on Fire." "Joseph Jefferson in the Drinking Scene of 'Rip Van Winkle,' " " Trilby and Little Billee." and " The Washing of a Pickaninny by His Mother."
The PoluskI brothers, Sampson, the strong man, Kitty Mitchell, and the others in the long programme are good entertainers.

---

The New York Times, New York, mardi 13 octobre 1896, p. 5.

C'est également le cas du quotidien New York Sun :

The members of the Republican National Committee were invited to attend the performance at Olympia Music Hall last evening.
A feature of the show was the "biograph" presenting a picture of Candidate McKinley on his own lawn at Canton. Another picture showed the parade of the McKinley and Hobart Sound Money Club at Canton last month.
Several members of the committee accepted Mr. Hammerstein's invitation, and they were accompanied by about 300 other Republicans. In the party were the Hon. Matthew S. Quay, Gen. Osborne, C. N. Bliss, Gen. Powell Clayton, Col. Sands and Gen. Scott.

---

New York Sun, New York, 13 octobre 1896.

Un dernier article évoque cette inauguration :

Candidate McKinley made his first appearance on the stage of Hammerstein's Olympia last evening and a big house full of very enthusiastic Republicans greeted the appearance with much shouting and flag waving. Matt Quay was there and his son Dick, J. H. Manley, McK. Osborn, C. N. Bliss, Gibbs and Lawrence, Powell Clayton and Gen. Horace Porter. Agent Daniels led a battalion of twenty-five McKinley railroaders, and Mark Hanna sent his sectary, M. Perkins. Col. Black and President Blackburn represented the Commercial Travellers' Association, of which there were hundreds present.
McKinley came on via The Biograph, which showed him walking across his lawn with his secretary, who handed him a telegram, which he read after adjusting his glasses. It was capitally lifelike and a very popular feature. There was a view, too, of a rushing railroad train, head on to the audience, and other excellent examples of the modern moving photography.

---

New York World, New York, 13 octobre 1896.

Quelques jours plus tard un nouvel article reprend les informations :

HAMMERSTEIN'S OLYMTIA. —-The Biograph, called on the programme "the 'dernier cri' in the art of producing light and motion," was shown for the first time with great success. The pictures are very large and are remarkably clear and free from vibration. The views included "Stable on Fire," "Upper Rapids of Niagara," "Trilby and Little Billee," "Joseph Jefferson in a scene from Rip Van Winkle," "A Hard Wash," "The American Falls at Niagara," "The Empire State Express, Sixty Miles an Hour," "McKinley and Hobart Parade at Canton, O," and "Major McKinley at Home." The last picture showed McKinley walking across his lawn, reading a telegram handed him by his secretary. It aroused great enthusiasm. On Monday evening a large number of prominent Republicans were present, including Garret Hobart, candidate for vice-president, Matt Quay and his son Dick, J. H. Manley. McK. Osboorn, C. N. Bliss, Powell Clayton and General Horace Porter. The house was crowded and the picture of McKinley set the audience wild. Seldom is such a demonstration seen in a theatre. The entire audience rose to their feet, shouting and waving American flags, and it was several minutes before they settled down quietly to enjoy the rest of the performance.

---

The New York Dramatic Mirror, New York, 24 octobre 1896, p. 17.

Le Biograph (Koster & Bial's, <27> octobre 1896)

Le Koster & Bial's offre des projections de vues animées avec le Biograph à la fin du mois d'octobre.

The Sun, New York, mardi 27 octobre 1896, p. 12.

Le Cinématographe Lumière de la concession de Maurice Lafont  (515, Fulton Street, 1^er novembre 1896-31 décembre 1896) → 1897)

Le cinématographe Lumière s'installe au début du mois de novembre au 515, Fulton Street. Une semaine à peine avant l'arrivée de Maurice Lafont, le nouveau concessionnaire envoyé par les Lumière, chargé de restructurer la concession. Il arrive à New York, le 9 novembre 1896, par la Champagne, parti du Havre quelques jours plus tôt. Le nouvel impresario se nomme William Freeman, selon Félix Mesguich. 

Pourtant, il semble que ces débuts sur Fulton street ait eu du mal à se mettre en place, car au bout d'à peine une semaine, la presse cesse d'en rendre compte

The cinematographe has proved so popular in the old post office building on Washington street that the managers have secured larger and more attractive quarters for it at 515 Fulton street, nearly opposite Association hall, which it will occupy on November 1. The new hall will be handsomely decorated and a Hungarian orchestra has been engaged to add to the interest of the exhibition. During the remainder of this month the exhibitions will be continued in the Washington street room. The military views, which have crowded the place on Wednesday nights until there has been only standing room for spectators, will be continued. More new views are now on their way from Europe and will be shown in Brooklyn before they are sent to the other cities where the cinematographe is on exhibition. An artist is coming over soon to photograph American views for the machine and the managers are confident that they can distance all competitors in the beauty of their pictures.

The Brooklyn Daily Eagle, New York, 1er novembre 1896, p. 17

The Brooklyn Daily Eagle, New York, 25 octobre 1896, p. 24

Dans l'article du Brooklyn Daily Eagle, il est aussi question de l'arrivée prochaine d'un nouveau cinématographiste - le premier, Alexandre Promio, est reparti à la fin du mois de septembre - et l'on peut raisonnablement penser qu'il s'agit de Félix Mesguich, même s'il n'arrive in fine qu'en décembre. Les annonces disparaissent presque au cours des semaines suivantes. Il faut attendre 1897 pour entendre à nouveau parler de ce cinématographe Lumière.

Répertoire (autres titres) : Burning Leaves (The Brooklyn Daily Eagle, New York, 25 août 1896, p. 9), Royal Aquarium, Brighton, England, Watering French Cavalry Horses, Drawing a Coke Oven, France, A Game of Backgammon at Country House, France, Procession at the Crowning of the Czar of Russia, Dancing in Camp, Spanish Soldiers, Shoeing a Horse, by a French Village Blacksmith, Employes of Messrs. Lumiere Bros. Coming out the Factory at Lyons, France, Arrival of Guests at French Country Home, Lauching of a War Vessel at the Government Dock Yards, Toulon, France (The Brooklyn Daily Eagle, New York, 30 août 1896, p. 23), Minerva's baths, Millan, Italy, Scene outside the house of parliament, Westminster, London, Gondoliers of Venice (The Brooklyn Daily Eagle, New York, 1^er septembre 1896, p. 7), The Boat flying down, Royal Wedding Procession (The Brooklyn Daily Eagle, New York, 8 septembre 1896, p. 7), Removing a Tree, French scene, Champs Elysee, Paris, Mechanical Charcuterie, Bathing on French Coast, London Street scene, Royal Spanish Lancers, Shooting Chutes, Geneva exposition, Arrival Train at French Station (The Brooklyn Daily Eagle, New York, 27 septembre 1896, p. 24), German Dragoons Exercising at Hurdles, Feeding Tigers, Botanical Garden, Paris, Charge French Cavalry, Ninety-sixth French Infantry, Children (of Mssrs. Lumiere brothers) Playing With Pets, German Dragoons at Stuttgart, A Game of Cards (The Brooklyn Daily Eagle, New York, 13 octobre 1896, p. 11), "London street scene in which children are dancing", A troop of French cavalry in full career, A Quarrel between babies, Spanish soldiers dancing, Termini square in Rome (The Brooklyn Daily Eagle, New York, 20 janvier 1897, p. 7).

→1897

Le cinématographe Lumière de la concession de Maurice Lafont (Eagle Building, 3 novembre 1896)

La publicité, parue dans le New York Clipper, marque une incontestable relance du cinématographe aux  États-Unis. Les nouveaux locaux se trouvent sur la 13^e avenue. Cette nouvelle concession va se traduire par une multiplication des lieux de présentations du cinématographe, présentations qui peuvent être plus limitées dans le temps et plus ponctuelles. Il est probable que, dès le mois d'octobre, l'agence Lumière dispose d'un nombre significatif de cinématographes afin d'assurer les demandes.

New York Clipper, New York, 7 novembre 1896, p. 576

Même si les séances au Keith's Union Square Theater et au 515 Fulton st. continuent au cours du mois de novembre, de nouvelles salles et de nouvelles projections vont avoir lieu dans les derniers mois de l'année 1896.

Deux séances particulières vont avoir lieu en novembre 1896. La première, le 3 novembre, au soir, est une projection publique, en plein air. Les vues sont projetées sur l'Eagle Building, dans la Johnson street. Même si d'autres expériences de ce type ont lieu dans les premières années du cinéma, il s'agit sans doute de l'une des toutes premières réalisées aux États-Unis. 

THE CINEMATOGRAPH
To Throw Moving Pictures on the Eagle Building To-night
Arrangements have been completed with the Lumiere cinematograph to throw a series of superb moving pictures on the Johnson street side of the Eagle building this evening. This will form one of the most striking features of the election night displays in either city, being the first time on record that the performance has been given in the open air.
Remember, the cinematograph on the Johnson street side of the Eagle building tonight.

---

The Brooklyn Daily Eagle, New York, 3 novembre 1896, p. 1

La presse ne semble pas avoir rendu compte de cette projection particulièrement originale. 

Le cinématographe Lumière de la concession de Maurice Lafont (Brooklyn Institute, novembre-décembre 1896)

Le cinématographe, par ailleurs, va intervenir à plusieurs reprises pour accompagner des conférences organisées au Brooklyn Institute. Celle du 27 novembre donne lieu à un compte rendu très détaillé dans la presse new-yorkaise : 

LIFE MOTION
The Cinematographe Exhibited at the Institute
A LARGE AUDIENCE ENJOYS A NOVEL ENTERTAINMENT-PROF. HOOPER SHOWS THE VIEWS, OWING TO ALEXANDER BLACK'S ILLNESSE-A LECTURE ON GLACIERS.
One of the largest audiences of the season assembled in Association Hall last, night, at the Brooklyn Institute’s cinematographe entertainment. The announcement of Alexander Black’s illness had been widely made, and there was consequently little surprise when Charles L. Woodbridge, an institute trustee, mounted the platform and announced that Prof. Franklin W. Hooper would show the views.
The first cinematographe picture shown depicted the noon hour at M. Lumiere’s fatory in Lyons, France. The employees came out in little knots and groups, walking with the rapid pace of the workman anxious to get home to dinner. Some mounted wheels and rode rapidly away. A big dog came romping across the canvas. Finally a coach and horses dashed out of the Messrs. Lumiere’s arched gateway and went spiritedly down the street. The view was received with great applause. Next came a baby scene in the Lumiere house-hold; a game of cards, in which the players quarrel, and are treated to an application of cold water from the gardener’s hose; a little Parisian drama, depicting the theft of a traveler’s valise by a couple of street gamins; the well-known scene of the arrival of a mail train; the Dahomey Indians at the World’s Fair. Of military views there was a street parade in Paris to the playing of the Marseillaise; an inspection of troops by Emperor Wilhelm II in Berlin; a royal procession, including Emperor Franz Joseph, at Vienna. The Czar and Czarina of Russia were seen in two pictures -the “Coronation March,” and a street procession on the occasion of their French visit.
Among the most vivid of the views were those depicting sea bathing. The billows came in just as they do at Coney Island or Rockaway, except that they did not bring with them the usual Coney Island supply of dead pets and passe vegetables. The youngsters floundered round in the surf in a way that did one good. More startling, at least to the feminine portion of the audience, was the diving scene from the ancient baths at Milan. Sturdy young fellows ran out on the planks in quick succession, made an arrow of their hands and went headlong to the water below, sometimes turning two or three somersaults in the descent. A reminiscence of the vaudeville was afforded by the negro minstrel scene, which was accompanied by lively playing of the banjo. Two of the finest pictures were reserved for the last. A Norway waterfall and procession of villagers was one; the other and last was the famous gondola scene from Venice. Soft music was to have been played while the gondola glided along the canal; but the zeal of the cinematographe operator outran his discretion and the view was run off before the muse could be invoked.
Prof. Hooper interspersed the cinematographe pictures with a short lecture on glaciers, with beautiful views of mountain scenery in Switzerland. The chromographs hardly came up to expectation probably for the reason that no means has yet been devised of showing such pictures by other than gas light, which is comparatively faint. However, some of the views were very beautiful and no one had reason to complain.

---

The Daily Standard Union, New York, 28 novembre 1896, p. 3

Alexander Black va finalement présenter le cinématographe au public venu l'écouter à la fin du mois de décembre. Il donne une conférence intitulée "Ourselves as Others See Us" et pour les besoins de son exposé, il va se servir de l'appareil Lumière. La nouveauté se trouve, incontestablement, dans la présentation, semble-t-il pour la première fois, de vues américaines :

The cinematographe views included some old favorites and some new ones. Among them were the arrival of the mail train, the baths and diving at Milan, cavalry fording a stream, the bridge staircase on the New York side, and an extraordinarily lifelike representation of the moving scene as one sees it from the window of a railroad train.

---

The Brooklyn Daily Eagle, 28 décembre 1896, p. 11.

Il ne faut oublier en effet que si le système Lumière est particulièrement efficace pour organiser des projections, il a aussi un talon d'Achille : son répertoire limité qui ne comprend pas de vues américaines jusqu'au mois de décembre. Le public new-yorkaise, comme le public américain dans son ensemble, attend aussi de voir des vues locales et la presse de façon récurrente en parle. Dès le mois de septembre, on évoque des vues... qui par ailleurs ne figurent pas au catalogue Lumière :

[...] As soon as the negatives can be sent to France and prepared for exhibition views of Li Hung Chang's visit to America will be added to the collection.

---

The Brooklyn Daily Eagle, New York, 1^er septembre 1896, p. 7.

NEW VIEWS FOR THE CINEMATOGRAPHE
The local views taken by the Lumiere photographers are now being developed and printed at the Lumiere Factory in Lyons, France. They will be shipped to New York this week and may be shown next week. Cables received from the Lumieres state they are very effective, and will undoubtedly create a sensation.

---

The New York Dramatic Mirror, New York, 31 octobre 1896, p. 9. 

On peut raisonnablement penser que l'arrivée tardive des vues américaines est l'une des causes du déclin du cinématographe Lumière qui va voir postérieurement des appareils, comme le biograph, le supplanter.

D'autres conférences ont lieu au cours desquelles sont présentées des vues Lumière : The Breaking of Waves on the Coast of France, The March of the Ninety-sixth Regiment of French Infantry, The Aquarium, Jardin des Plantes, Paris, Bicycle Parade, Lyons, The Picture Sale, Paris, A Children's Lawn Party in Paris, Cavarly Swimming the Seine, Cortege de Chasseurs (Parade of the Hunters), A Mele of the French Cavalry, Passing Trains at Hamburg, The Parade of the Dragoons, Stuttgart; Practice with German Sabers in Berlin, A Swiss Fete Day in Canton Url, "Bringing the Cattle Home", Bernese Oberland, A Swiss Cascade, The King and Queen of Italy, The Bersagliers of the Italian Army, Serving Rations in the Spanish Army, Spanish Artillery Men Firing Their Guns, Donkeys in Algiers, The Same Scene with Pleutres, in reverse order, Niagara Falls (The American Falls), The Niagara Rapids above the Horseshoe Fall, A Street Scene, Broadway, New York, Bathers Diving at the Baths of Diana, The Same Scene with Pictures in Reverse Order, The Serpent Man, A Street Scene in Boston, Feeding the Tiger (The Brooklyn Daily Eagle, New York, 7 février 1897, p. 3).

Au cours des mois suivants de nouvelles conférences ont lieu, parfois avec l'accompagnement d'un cinématographe, mais il pourrait s'agir de n'importe quel autre appareil. 

Le cinématographe Lumière de la concession de Maurice Lafont (Empire, décembre 1896)

Par ailleurs, plusieurs essais sont réalisés dans d'autres salles new-yorkaises, essais qui parfois se soldent par un échec. Toujours est-il que des séances ont lieu à l'Empire :

"Darkest America" at the Empire next week, will have Lumiere's cinematographe in addition to the regular show.

---

The Brooklyn Daily Eagle, New York, 4 décembre 1896, p. 7.

Le cinématographe Lumière de la concession de Maurice Lafont (American Theater, décembre 1896)

Et à l'American Theater :

Lumiere's cinematographe, which did not work well at the American theater the first part of the week, is now in good running order and will remain for to-night and both performance to-morrow. Next week "The Pulse of New York" will be played.

---

The Brooklyn Daily Eagle, New York, 11 décembre 1896, p. 7.

Ces exemples montrent que désormais, il existe une grande flexibilité dans la gestion et la location des appareils cinématographiques. Il reste toujours aussi difficile de savoir combien de projecteurs sont alors présents à New York.

Le cinématographe Lumière de la concession de Maurice Lafont (Eden Musee, 20-31 décembre 1896) →1897

C'est à la toute fin de l'année 1896 qu'une nouvelle salle organise des séances cinématographiques. L'Eden Musee est le musée de cire de New York dirigé par Richard Hollaman, et il offre également des concerts et des événements culturels. C'est dans ce contexte que l'appareil Lumière va donner des séances pendant de longues semaines. La première annonce date du 20 décembre 1896.

New York Herald, New York, 20 décembre 1896, p. 7	Neew York, Eden Musee (c. 1897) [D.R.]

La presse ne consacre que quelques lignes à ce cinématographe :

The Lumière cinématographe is still on view at the Eden Musée, Thirty-five views are shown. Exhibitions are given every hour. What with the wax works, the chamber of horrors, and Koevesay's Band, the Musée entertainment is one of extraordinary variety and merit.

---

The New York Times, New York, dimanche 27 décembre 1896, p. 11.

Par la suite, les annonces restent assez discrètes, un peu répétitives, et on ne sait pas grand chose sur le répertoire.

→1897

← 1900 Le Cinematograph (Eden Musée, 1^er janvier-31 décembre 1901) → 1902

← 1900

Les projections de vues animées reprennent dès le début de l'année :

The success of the pantomime "Humpty-Dumpty" at the Eden Musee has been such that it will be continued for another week. It is of special interest to children. Moving pictures are shown hourly, and they include many humorous subjects, as well as tales of mystery. The afternoon and evening concerts continue to please, and the wax groups are at their best.

---

New York Tribune, New York, dimanche 6 janvier 1901, p. 36.

En mars, les séances cinématographiques font toujours partie du programme :

As an extra Lenten attraction for the week, the Eden Musée will reproduce with moving pictures the life scenes and death of Joan of Arc in twelve tableaus. In addition, there will be shown two new moving pictures of the Queen's funeral. Other new moving pictures will be shown, including many mysterious subjects. The afternoon and evening concerts will have choice Lenten programmes.

---

The New York Times, New York, dimanche 3 mars 1901, p. 16.

Les projections cinématographiques se prolongent jusqu'à la fin de l'année.

Répertoire (autres titres) : The inauguration ceremonies at Washington [Several pictures are shown and President McKinley, as well as many of the distinguished visitors, can be plainly recognized], The Queen's funeral. (The Brooklyn Daily Eagle, mardi 12 mars 1901, p, 15), The Opening of Parliament and the inauguration of President McKinley (The New York Times, New York, dimanche 24 mars 1901, p. 24), Buffalo Bill's street parade (New York Tribune, New York, dimanche 14 avril 1901, p. 26), The Ganges River in India, The Great Wall in China (The New York Times, New York, dimanche 5 mai 1901, p. 20), The Pan-American Exposition at Buffalo (The New York Times, New York, dimanche 2 juin 1901, p. 7).

→ 1902

← 1905 Le Cinematograph (Eden Musée, 1^er janvier-31 décembre 1906) → 1907

← 1905

Les projections de vues animées reprennent dès les premiers jours de l'année :

In addition to the extra attractions, which include Harry Braham in "Masks and Faces," the Japanese Karabanza Troupe and other features, there are this week several very fine cinematograph views just received from Europe at the Eden Musée. Among them are the beautiful "Falls on the Rhine," "Launching a Lifeboat at Brighton, England," "Tourists Climbing the Alps" and others. The solos on the violin by Professor Seredy are a feature of the Hungarian band concerts.

---

New York Tribune, New York, dimanche 28 janvier 1906, p. 44.

Les vues proposées sont régulièrement renouvelées :

EDEN MUSEE has one of the most interesting marine pictures ever shown on the Cinematograph. It shows a war vessel battling with the elements during a storm. The photographs were taken from the deck of an Atlantic liner, which was just entering port when the war vessel passed out to sea during a hurricane.

---

Times Union, New York, samedi 28 avril 1906, p. 6.

Le film du tremblement de terre de San Francisco fait partie des programmes de l'Eden Musée :

The special attractions this week at the Eden Musée will be cinematograph films showing the calamity at San Francisco. The pictures were taken under most difficult circumstances, and show the streets of the city, the demolished buildings, together with incidents of the Red Cross work, the military patrolling, the mines, etc. In conjunction with the above cinematograph pictures will be shown of the city before the disaster, the title of the series being "San Francisco as It Was and as It is."

---

New York Tribune, New York, dimanche 6 mai 1906, p. 54.

The New York Times, New York, dimanche 28 octobre 1906, p. 31.

Les séances ont encore lieu à la fin de l'année :

Victor Andre's London Company continued to head the bill at the Eden Musee. In the Winter Garden new Cinematograph pictures were shown, one series depicting the balloon races by members of the Raneleigh Club.

---

The New York Times, New York, mardi 11 décembre 1906, p. 9.

Répertoire (autres titres) : The life of a fireman [responding to an alarm of fire, from the time of leaving the engine house to the falling of the walls of the burning building]. (The Brooklyn Daily Eagle, dimanche 8 avril 1906, p. 35), The Pageant held last July at Warwick Castle, England (Times Union, New York, samedi 15 septembre 1906, p. 6), The members of the English Ranelagh Aerial Club holding their weekly contests [As many as eight and ten balloons are seen competing for prizes. Some exciting and amusing experiences are witnessed at these friendly races through and above the clouds] (The Brooklyn Daily Eagle, dimanche 23 septembre 1906, p. 41), The Mammoth screen (New York Tribune, New York, dimanche 18 novembre 1906, p. 50), A parody on Vesta Tilley's famous song, "Following in Father's Footsteps (Times Union, samedi 29 décembre 1906, p. 6).