from CIRCUS RIDER, a novel history by Peter Breschard copyright 2010
INTRODUCTORY NOTE
When the original manuscript of CIRCUS RIDER arrived at our workplace, my staff and I were decidedly cautious. In the course of an ordinary week, we encounter numerous historical novels based upon an author’s ancestors and the allegedly amazing, wonderfully wicked, emotionally engaging events which may or may not have occurred. Under usual circumstances, these failures at both history and fiction are rapidly rejected by our editorial process.
So, I am sure you are asking, what is the difference between this volume and the thousands of others which attempt to illuminate long forgotten historical events? I shall explain.
Of the prodigious number of painters the United States has produced since its inception more than two centuries ago, Gilbert Stuart rises head and shoulders above them all. Not only is Stuart acclaimed for his artistic talents, but many of those he chose as his subjects have escaped time’s voracious grasp and managed not to disappear from memory. Their faces are now icons of our nation’s history. Portraits of George Washington, Thomas Jefferson and John Adams are among the many images Gilbert Stuart created which will linger forever in the American consciousness.
What do Gilbert Stuart and the rest of early American history have to do with the following pages? In 1808, while plying his trade in Boston, Massachusetts, Stuart was approached to immortalize one half of the most famous duo of entertainers ever to perform in these newly minted, and united, States.
Jean Breschard and his partner, Victor Pépin, were highly acclaimed equestrian performers from the world renowned Paris circus of Monsieur Franconi. As had become circus tradition, Breschard and Pépin, having achieved sufficient recognition and experience under M. Franconi, launched their own troop. After two extraordinarily well received seasons in Spain’s capital, Madrid, the Circus of Pépin and Breschard sailed to North America where entertainers of their stature and professionalism never had previously performed.
Stuart’s likeness of Breschard remains incomplete, much like his most famous portrait of George Washington (reference any one dollar bill). When this Boston portrait painter presumed there would be some future demand for original oil copies (which he created himself) of any particular painting, he would leave the background unfinished as a detailed setting was unnecessary to facilitate reproductions. One can only suppose that this great American master foresaw an audience for copies of the Breschard portrait which might well have rivaled that for his most popular work, the portrait of the father of these United States, George Washington.
Fortunately, the story of George Washington has not been lost or intentionally mislaid, which is more than can be said for the history of Jean Breschard. What follows in these pages is the story of a great American portrait by America’s greatest artist. It is a tale of art, war, pirates, politicians, the new frontier; and all the other ingredients necessary for the stew which was this novel democracy. As well as, of course, the circus.
With considerable trepidation, the editorial board and I have left the ordering of chapters as they were when we originally received the manuscript. The author of this work, not the most loquacious of correspondents, has informed us this arrangement represents the progression in which this history was rediscovered and recreated. Although certain readers might experience a minor dose of literary vertigo as they attempt to follow the non-traditional time line, we hope the clientele of this carnival ride will suffer no severe injuries. Fortunately, with fiction, certain liberties may be taken regarding the ebb and flow of chronicled events. Unfortunately, with history; with reputable history; events are best related as they actually occurred. CIRCUS RIDER being a novel history, we elected to follow the less chosen path.
Gilbert Stuart’s portraits immortalize many of America’s most notable players. This is the story of one of them, and of how he was lost, and now he is found.
Walter L. White
New York, NY
2010
from CIRCUS RIDER by Peter Breschard copyright 2010
now available at www.circusrider.org
