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… " A Pageant
to Celebrate the Completion of
The Catskill Aqueduct.
(Tentative outline.
*.
By Edward Hagaman Hall, L. H. D.
The Mayor's -
atskill Aqueduct Celebration Committee
New York City, 1917. -
\
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The Mayor's
Catskill Aqueduct Celebration Committee
Chairman
George McAneny
229 West 43d Street
Treasurer Secretary
Isaac N. Seligman Edward Hagaman Hall
l William Street 154 Nassau Street -
Executive Committee
Chairman
Arthur Williams
124 East 15th Street
William C. Breed George McAneny
William Hamlin Childs Samuel L. Martin
Edward Hagaman Hall William McCarroll
George Frederick Kunz Isaac N. Seligman
J. W. Lieb, Jr. Charles H. Strong
Henry R. Towne
Chairmen of Sub-Committees
Central Park Pageantry - - William J. Lee
City Hall Exercises - gº William Fellowes Morgan
Illuminations - gº? gº - Nicholas F. Brady
Official Dinner - gº gº Elbert H. Gary
Official Medal - º gº - Robert W. de Forest
Museum Exhibits gº gº George Frederick Kunz
Music Festivals gº sº - Oswald G. Villard
Public Schools - gº - Leo Arnstein
Religious Exercises - gº - Rev. Walter Laidlaw
(Others to be appointed)
The total membership of the Mayor's Committee numbers about 750
2
D. of D.
SEP 27 1917
UNIVERSITY
OF CHIC
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Explanation
In the following pages are some suggestions for a Pageant
to commemorate the completion of the Catskill Aqueduct, if it
shall be decided to have such a feature of the official celebration.
The Pageant is primarily designed for production in some
large enclosure like the Stadium of the College of the City of
New York, but it is adaptable for pageants on a less pretentious
scale and with less elaborate accessories by school children.
The Pageant consists of a Prologue, five Episodes or Alle-
gories, and an Epilogue.
The Prologue represents man's prime need of Water to sus-
tain life, and the universal prayer which all races and creeds
of all ages, from the aborigines to the present time, have lifted
up to Heaven for Water.
The five Allegories depict the five great uses of Water. The
first symbolizes the Gift of Water for Food production, at
the same time typifying the manner in which Nature gives
Water to man. The second symbolizes the Gift of Water for
Drink, and the curse of drunkenness. The third represents the
Gift of Water for Health; in this are included the general ideas
of personal cleanliness, domestic hygiene and public sanitation.
The fourth represents the use of Water for fire extinguishment.
And the fifth typifies the use of Water for power, its use in
the industries, and its function in bearing commerce.
The Epilogue represents the City sending to the Mountains
for Water; the building of the Aqueduct; Ashokan” giving
Water to the City; and the distribution of the Water to the five
Boroughs; the whole concluding with a choral ascription of
praise to God from whom all blessings flow. -
The mechanical arrangements contemplate the erection at one
end of the enclosure of a stage, simulating a natural elevated
* Ashokan, sometimes abbreviated to Shokan, is the Indian name of a place
in the town of Olive in Ulster county which has been given to the great reservoir
at the head of the Catskill Aqueduct. It has been personified for the purposes
of the Pageant.
3
plateau of rocks and earth, upon which there is a throne with
seats for the principal characters. The painted background in
the first Allegory is simply sky and light clouds; in the other
scenes it is sky and trees. On the plateau is a small fountain
and basin, the overflowing water of which falls into a pool
located on the ground in front of the stage. Back of the pool,
under the stage, is a grotto, the abode of the Water Spirits.
At the opposite end of the enclosure is a Mountain, the abod
of Ashokan. . *
Midway between the stage and Mountain, the Prologue calls
for a few Indian wigwams; and the third and fourth Allegories
for a cluster of cottages to represent a village. -
The other mechanical requirements are suggested by the text.
The whole is susceptible of the most beautiful lighting effects,
if produced at night, as, for instance, in the first Allegory in
which the Clouds take on different hues. If the Pageant be
produced in the daytime, the references to changing lights are
to be disregarded.
The Good Gift of Water
Prologue
The Universal Prayer
The Prologue represents in the middle ground an Indian vil-
lage on Manhattan Island, in the month of the Planting Moon.
The inhabitants are engaged in various domestic occupations.
The Sachem calls them together and announces that Planting
Time has come. They take down ears of corn which hang on
their wigwams, shell the corn, and soak the kernels in water.
With their wooden hoes and pointed sticks they plant the corn.
Then they gather and have a Rain Dance and a Corn Planting
Dance, looking upward and lifting up their hands to the skies,
praying for rain. When their ceremonies are over, they sit
upon the ground around their camp-fires.
The action shifts to a distant elevation (the platform), upon
which an altar has been raised. Priests of different races.
ancient and modern, in their robes of office, appear before it and
pray for rain. The Babylonian priest sets up his Fish-God,
symbolizing, in their ancient belief, the union of Wisdom and
Water; and other priests set up their respective divinities or
symbols and chant their supplications.
The Indians, hearing the distant music, steal toward it, and,
gathering at the foot of the eminence, join in the Universal
Prayer, which all men of all ages have offered to Heaven' for
the Good Gift of Water to meet their Universal Need.
.*
First Allegory
The Gift of Water for Food
The Sun, dressed in splendor, enters, riding in a golden
chariot. His horses are led by Hours; he is attended by the
four Winds and is followed by the four Seasons. He rides
around the earth and ascends his shining throne. He has heard
the prayers of men for rain and sends the four Winds to bring
the Clouds. The Clouds, in light flowing draperies and carrying
5
little vases or goblets of water, come at his bidding. They dance
toward him in groups, taking on various hues as they gradually
approach his throne. They ascend the eminence on which he
is elevated and gather around him so closely that they obscure
his light and they themselves become dark. At the signal of
thunder peal and lightning flash, the Clouds break away and
the Sun reappears. The Clouds go flying down to the earth,
emptying their vases and growing brighter as they go. Then
the Corn-Maidens and the Flower Maidens (who have been
lying on the ground concealed under brown mantles) spring
up, throw off their earthy coverings, and with corn-stalks and
sheaves of flowers in their hands, dance in the sun-light and
make glad the earth.
Second Allegory
The Gift of Water for Drink
Upon the eminence at One end of the enclosure is a fountain
with a background of trees. Its overflowing waters fall into
a pool upon the ground below. Behind the pool is a grotto.
Beside the fountain on the eminence are two Ministering Spirits.
Around the pool below and in the grotto are many Water Spirits.
A procession, symbolizing Humanity, slowly approaches the
eminence in single file, ascends at one side, partakes of the
refreshing waters, passes on and descends on the other side.
In the procession is a traveller leaning heavily on his staff; a
horseman leading his jaded steed; a drover leading his thirsty
ox; a husbandman with scythe over his shoulder wiping his
brow; a woman with babe in her arms; a man with a burden
on his back, etc. Some sit a moment by the fountain while the
Ministering Spirits bathe their brows. All drink the water
offered by the Spirits and resume their journey refreshed.
The scene shifts to the middle of the enclosure and reveals
a Bacchanalian orgie. The god of Strong Drink, surrounded
by Satyrs, is leading slovenly-clothed men and women in a
drunken revel. They dance and drink, quarrel and fight. One
man strikes another down, symbolizing crime. The men and
women gradually fall from exhaustion and inebriety. Bacchus
and the Satyrs dance in glee around their victims.
6
The Water Spirits go to the rescue. They surge toward the
Evil Ones, and the opposing forces sway back and forth alter-
nately striving for the spiritual mastery. At length the Water
Spirits succeed in forming a ring around the fallen ones, and the
Evil Spirits, with a cry of defeat, flee into darkness. The Water
Spirits bring water, bathe the brows of the fallen and give
them water to drink. When the prostrate ones drink, they rise
from the ground, their bad habits—typified by spoiled gar-
ments—fall away; they appear transformed; and all join in a
dance of thanksgiving.
Third Allegory
The Gift of Water for Health
At one end of the enclosure Hygeia, the goddess of Health,
and her father AEsculapius, in white robes, sit upon an elevation
by a fountain of healing waters. Around the pool and in the
grotto below are Water Spirits.
At the opposite end of the enclosure, two cloaked and hooded
figures squat upon a heap of earth: The one in the gray cloak
is Disease. The one in the black cloak, whose face looks like
a skull, is Death. Their cloaks are supposed to make them in-
visible.
Between the two extremities is a little village. The villagers
are indolent and negligent. The men lounge and smoke; the
women gossip. Then they go to an open space somewhat apart
from their cottages and have folk-dances.
While the villagers are making merry, repulsive figures, half
beast and half human, representing Filth in various forms, crawl
out of little hovels by the houses. Some wallow in the vil-
lage street; some bespatter the houses with mud; some rummage
among and overturn the waste receptacles; some crawl in win-
dows and doors and come out again. They keep this up while the
villagers are dancing and then lie down like dogs by the houses.
The villagers return but do not drive off the filthy beasts.
Then Disease and Death, in their invisible cloaks, stalk through
the village, touching the door-posts, and pass out of sight.
Presently the women come out of one cottage and wring their
hands and lament. Other villagers come out of their houses and
7
join their lamentations. The wisest man of the village, he with
a long beard, gives them counsel, and then goes as a messenger
for Æsculapius. While he is absent, the sick on their sick-beds
are brought out into the village street.
The white-robed physician leads Hygeia to the village. They
are followed by the Water Spirits carrying basins of water. They
kill the Filth beasts by sprinkling and the dead beasts are drag-
ged out of the village. Then the street is sprinkled from the
basins, and the Water Spirits hold the basins while the villagers
bathe their faces and hands. All then form a procession and,
carrying the sick-cots, go to the Pool of Health where the sick
are healed and a dance of rejoicing is held.
Fourth Allegory
The Gift of Water for Protection from Fire
Around the pool at one end of the enclosure the Water Spirits,
carrying voluminous loose draperies of light green color, sit and
stand. They sport among themselves and splash in the water.
At the opposite end of the enclosure a group of Fire Fiends,
dressed in red, with red bat-like wings, sit, stand and make
sport around a bonfire. They play with torches and fire-brands.
Between the two groups is a cottage occupied by a happy
family. The father labors in the field. An elder daughter spins
before the door. The children play games. The mother goes
in and out about her household duties, cooking the family meal.
Light smoke curls from the chimney.
The chief of the Fire Fiends steals toward the cottage, beck-
oning to his fellows to follow. The first one fastens himself with
his outspread hooked wings upon the side of the little house. The
chimney smoke increases. Another Fiend approaches followed
by more. The mother discovers them and gives a cry of alarm.
The family try to beat off the Fiends but more come to the
attack. Other villagers join in the fight but are unable to drive
the enemy away. A play of lurid light seems to foretell the doom
of the house.
Then some of the villagers run toward the pool calling on the
Water Spirits for help. The latter rush to the rescue. The
8
Fire Fiends and the Water Spirits surge back and forth, the
latter trying to envelope the former in the folds of their loose
draperies. At length, the Fiends are surrounded, completely en-
veloped in the green folds of Water, and are smothered. They
fall dying to the ground, covered by the green mantles. The vil-
lagers rejoice at their delivery.
Fifth Allegory
The Gift of Water for Industry and Commerce
Two figures, symbolizing Industry and Commerce, sit upon a
throne as presiding geniuses of the scene. Bales of goods,
wheels of machinery, and other objects lie at their feet.
By the pool near the throne is a mill, with a water-wheel,
representing the use of water in Industry. The water-wheel
turns and electric lights begin to glow in a halo above the heads
of Industry and Commerce. Men go into the mill carrying bur-
dens of materials.
The procession of Commerce enters the enclosure in four
groups and approaches the mill. First is a group of Indians bear-
ing a canoe on their shoulders. They are encircled by dancing
Water Spirits, now representing Waves. The Waves carry
between each other voluminous green draperies which they
gently undulate. The group bears the canoe to the mill where
it receives a cargo, presumably corn meal, and passes along.
Next comes a group of old time sailors, bearing on their should-
ers a sailing vessel. They are likewise surrounded by dancing
Waves. They halt at the mill, receive their cargo, and pass
along. In like manner a third group of men bearing a steamboat,
and a fourth group in the uniform of the Navy bearing a war-
ship, both surrounded by Waves, approach, receive their car-
goes, and follow their predecessors. The procession circles the
enclosure and gathers in the middle. Each vessel is set upon
the ground, previously covered with green cloth to represent
water. The Indians gather around the canoe and the sailors
gather around their respective ships. The Waves form a circle
around all, holding their green draperies between each other and
keeping them in gentle motion. The Indians and the groups of
sailors each in turn have a characteristic dance.
9
A fifth group of Waves now enters the enclosure, dancing
and bringing Peace and Plenty in their midst. Peace, with a
dove on her shoulder, carries two laurel wreathes in her hands.
Plenty carries a cornucopia of abundance. As they go around
the enclosure, the first four groups follow in their train and all
proceed to the foot of the throne. Peace and Plenty ascend, the
former laying wreathes on the heads of Industry and Commerce,
the latter emptying her cornucopia at their feet. In the groups
below, the Waves are outermost, dancing and gently waving
their green draperies.
Epilogue
The Mountains Give Water to the City
Enthroned upon an elevation at one end of the enclosure sit
five classically draped female figures, symbolizing the five Bor-
oughs of Greater New York.” Festoons of flowers unite them.
Above them presides the Mayor, wearing a gown as Chief Magis-
trate of the City. A little below them, on the same elevated
place, sit three Commissioners of Water Supply in conference.
Near them are engineers studying maps with surveying instru-
ments by their sides, and draftsmen with compasses and rulers
drawing plans.
At the opposite end of the enclosure, upon a Mountain, sits
an Indian chief, personifying Ashokan, f and typifying the Spirit
of the Mountains. About him, little Brownie-like Mountain
Sprites gambol. They bring him water to drink and he drinks
some, but there is more than he needs and he motions them to
go away.
After due deliberation by the Water Commissioners and en-
gineers, the chief Commissioner arises and addresses the Mayor,
pointing frequently toward the Mountain. The Mayor nods as-
sent and hands him a scroll containing a command to go to the
Mountain and seek Water. A procession starts for the Moun-
tain. First go the Commissioners; next the engineers who meas-
* See group on the obverse of the Greater New York Medal, 1898, designed by
the writer.
† See note about Ashokan on page 3.
IO
miſſil
| 3 go15 O7056 9002
ure the ground as they go and set up little stakes or flags to mark
the route; and next a few workmen with picks and shovels on
their shoulders.
Arriving at the Mountain, the scroll is read to Ashokan. He
nods his assent, claps his hands and the Mountain Sprites bring
him a large Indian jar. The Sprites disappear and return with
gourds or small jars of water which they empty into the large
Jar.
The Commissioners clap their hands and motion to the engi-
neers and workmen to proceed with their task. The Commission-
ers remain with Ashokan; the engineers and workmen slowly
retrace their steps toward the City, the workmen striking the
ground with their picks and shovels.
As they proceed, the Aqueduct Spirits (who formerly repre-
sented the Water Spirits) come trooping into the enclosure,
bringing large circlets or hoops decorated with flowers. Some
roll their hoops, others skip with them. They go through various
picturesque evolutions and finally form a line beginning at the
Mountain and stretching toward the City. They hold their
hoops in a row, forming the outline of a tube. The Commission-
ers, Ashokan bearing the jar of water, and the Mountain Sprites
descend and pass through the Aqueduct,” to the City. Ashokan
delivers the water-jar to the Mayor who, in turn, pours out five
gobletfuls of water and delivers them to the five Boroughs. The
Boroughs rise and drink, and all present join in the final chorale,
“Praise God from whom all blessings flow.”
* If preferred, the Aqueduct Spirits may carry long flexible wands instead of
hoops, and, standing in double file, form an archway with their wands to represent
the Aqueduct. If there are not enough figures to reach from the Mountain to the
Qity, those who are nearest the Mountain may, after Ashokan has passed them,
#. º the other end of the line and thus continually extend it until the City is
©Cls
II