Emperor Norton's reign in San Francisco coincided with the advent and growth of opera in his adopted city.
In one of the Emperor's earlier Proclamations, published in December 1865, he enjoins his subjects to attend and support the opera, writing: "The man that has no music in his soul is fit for Treason, Strategem, and Spoils. Let no such man be trusted....The Nation that supports music shows an advancement in Civilization and Refinement."
In April 1872, Emperor Norton returns to these themes in a Proclamation that focuses on a specific company, the Bianchi troupe, that had been identified with opera in San Francisco for nearly 15 years — but now was failing.
Several episodes in the Bianchi story illustrate the challenges that beset the enterprise of opera in San Francisco during this period — challenges that lay at the heart of the Emperor's recognition that, in order for any opera troupe to nourish the public soul, it first must succeed as a business enterprise.
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By 1861 — and for the 18-plus-year remainder of his reign — Emperor Norton was a favorite and enduring subject for San Francisco cartoonists and theater troupes, who found that local audiences enjoyed the good-natured lampooning of their Emperor.
The Emperor himself was less amused — and, there are a couple of oft-cited examples of the Emperor’s expressing his royal displeasure over how he was portrayed in these contexts.
Recently, we uncovered an “episode of displeasure” that is even better documented than the familiar examples.
The occasion was the mounting of an advertisement using Emperor Norton’s image on a construction fence at Montgomery and California Streets. The Emperor borrowed a jackknife; cut out the image of himself; and sliced the image to shreds.
The crowd, as they say, “went wild.”
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Allen Lane wrote the first of only two book-length biographies of Emperor Norton that have been published.
The book hit the shops in February 1939.
Last week, I acquired a very special presentation copy of Lane’s biography. In fact, it’s the copy that Lane gifted to his parents on their anniversary, when the book was published.
Information in the inscription prompted me to do some digging into Lane’s story — something that long has been something of a mystery in Norton circles. What I discovered will be new, I think, to those who know Lane only as a Norton biographer.
Read on to learn more about Lane — and to get the second part of the twofer.
Includes an image of Lane’s inscription and a rare photograph of Lane that he included with the book.
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