The Miracle (1912 film) (English Wikipedia)

In the Titanic's cargo manifest there is an entry for a case of films addressed to the New York Motion Picture Company: this may have caused confusion since it was a different entity from Continental-Kunstfilm's US distributor, the New York Film Company. The NYMP Co. made and distributed films under the Bison 101 name, and merged with Universal Studios in June 1912.

archive.org

"D. Muntuk, of the M and F Feature Film Company, 157 Washington St, Chicago, has secured the Illinois state rights to the New York Film Company's production, The Miracle. He made a special trip to New York to buy the rights for his company." Source: "Brevities of the Business". Motography. IX (7): 256. 5 April 1913.
Athenaeum 1913, p. 52. The Athenaeum Journal of Literature, Science, the Fine Arts, Music, and the Drama. London: Athenaeum Press. January–June 1913.
e.g. Bush, Stephen W. "Reinhardt's Miracle" in MPW 1913a, p. 868 "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
Photos of Rocholl, Benzinger, Klein, Winston, and Carmi. "Characters in The Miracle. Recently at the Park Theatre". The Theatre Magazine. XVII (147): 160 [pdf 289]. May 1913.
Heisterbach 1851, pp. 42–43 (pdf p. 52), Book VII, chapter XXXIV (De Beatrice custode) Heisterbach, Caesarius of (1851). Strange, Joseph (ed.). Dialogus miraculorum, vol. II (in Latin). Cologne, Bonn and Brussels: J. M. Heberle (H. Lempertz & Co.). (See also Volume I)
(Bithell 1913, pp. 116, 118–122, 126) Bithell also made an English translation for a 1913 London production by Max Reinhardt of Vollmöller's version of Turandot. Bithell, Jethro (1913). Life and writings of Maurice Maeterlinck. London: Scott Publishing Co.
Turner 1914, p. 115. Turner, Una (1914). Maeterlinck: a critical study. London: Martin Secker.
Bithell 1913, pp. 122, 126. Bithell, Jethro (1913). Life and writings of Maurice Maeterlinck. London: Scott Publishing Co.
The copyright of the play and the music remained with Bote & Bock. See Frohlich & Schwab 1918, p. 640 Frohlich, Louis D.; Schwab, Charles (1918). The law of motion pictures including the law of the theatre. New York: Baker, Voorhis and Co.
MPW 1913a, p. 584. "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
The Cinema, July 1912, p. 7 (pdf p. 205)
A July 1913 article in the Slough, Windsor and Eton Observer & 26 July 1913, p. 8 places Menchen at the centre of the film's genesis and production, "with the co-operation of Michel Carré." This article contains remarkable similarities to the one which appeared in The Cinema, July 1912, p. 7 (pdf p. 205), but with Carré's name replacing Reinhardt's; both articles appear to have been written by the same person, who seems to have written and handled all the film's publicity (possibly Menchen, or his "commander-in-chief", George Crager). "The "Miracle" coming to Slough". Slough, Windsor and Eton Observer: 8, col. 3. 26 July 1913. NB Website states that their online zoomable image viewer is not working. In 'Views of current image' menu on the left, download 'High resolution image (2.4 MB)' by right-clicking and choose 'Save link as...' etc.
The Cinema News & Property Gazette, Volume II (New series), No. 13, 8 January 1913, p. 30, pdf p.230
This "herculean task"(see MPW 1913a, p. 868) was carried out by seventy people, according to a report in the New York Times: "Film show in Covent Garden". New York Times, 9 December 1912. The process used may have been the Pathé colour process. Pathe employed over 400 women stencilers in 1910 in their Vincennes factory. "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
Copinger 1915, p. 69. Copinger, Walter Arthur (1915). Easton, J. M. (ed.). The law of copyright, in works of literature, art, architecture, photography, music and the drama : including chapters on mechanical contrivances and cinematographs: together with international and foreign copyright, with the statutes relating thereto (5th ed.). London: Stevens and Haynes.
The Times law report, 18 December 1912. See also MPW 1913a, p. 146 4 January 1913. Vol. 15, no. 1. "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
"A marvellous picture". Cinema News and Property Gazette. 11 (12): 7, 14, 43a. 1 January 1913.
Guide Musical 1912, p. 798. de Curzon, Maurice; Bacha, Eugène, eds. (1912). Guide Musical: revue internationale de la musique et de theâtres lyriques (in French). Vol. 58. Paris, Brussels. p. 798.{{cite book}}: CS1 maint: location missing publisher (link)
Wyndham & L'Epine 1913, p. 213. Wyndham, H. Saxe; L'Epine, Geoffrey, eds. (1913). Who's who in music: A biographical record of contemporary musicians. London: Sir Isaac Pitman & Sons.
The Cinema News & Property Gazette, Number 13, Volume II, 29 January 1913, pp 21 & 42 (pdf pp. 413 & 434)
MPW 1913a, p. 583, Volume 15 No. 6, 8 February 1913. "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
MPW 1913b, pp. 33, 67. "The Moving Picture World, April to June 1913". XVI. New York: Chalmers Publishing. 1913b. {{cite journal}}: Cite journal requires |journal= (help)
The Cinema News & Property Gazette, Number 13, Volume II, 29 January 1913, p. 21, pdf p. 413 Dated 29 January, article reads "On Friday last [ie Friday 24 January 1913] the Picture House, Oxford Street, opened its doors for the reproduction of that extremely successful play, "The Miracle"
The Cinema News & Property Gazette, Number 13, Volume II, 22 January 1913, p. 13, pdf p. 308
Variety, 7 February 1913, p. 15
The Cinema News & Property Gazette, Number 13, Volume II (New series) 26 February 1913, p. 29, pdf p. 809
Variety, Friday 14 February 1913, p. 14b
No "Miracle" pictures. London, 8 May. "No moving picture films were taken of The Miracle. Joseph Menchen was due at the Savoy Hotel Sunday and has a contract with Max Reinhardt for the pictures, but other interests prevented his taking them." Variety, 11 May 1912, p. 4d.
Grau 1912, pp. xvi–xvii. Grau, Robert (1912). The stage in the twentieth century, Volume 3. New York: Broadway Publishing Co. pp. xvi–xvii.
Variety, Vol. XXIX, No. 2, 13 December 1912. p.4c
A Society Circus theatre programme, 8 January 1906.
The Cinema News and Property Gazette Vol. 2, 5 February 1913, pp. 20–21
Variety, 14 February 1913, p. 14
The Playgoer and Society 1912, p. 132. "The Miracle". The Playgoer and Society. 5 (28). London: Kingshurst Publishing. 1912.
MPW 1913b 16:1, 5 April 1913, p. 67c, and p. 68a. "The Moving Picture World, April to June 1913". XVI. New York: Chalmers Publishing. 1913b. {{cite journal}}: Cite journal requires |journal= (help)
MPW 1913b, p. 366 16:4, 26 April 1913 "The Moving Picture World, April to June 1913". XVI. New York: Chalmers Publishing. 1913b. {{cite journal}}: Cite journal requires |journal= (help)
(MPW 1913a, p. 302) Volume 15 no. 3,18 Jan 1913 "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
(MPW 1913a, p. 520) Volume 15 No. 5, 1 February 1913 "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
(MPW 1913a, p. 1281) Vol. 15, No. 12, 22 March 1913 "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
(MPW 1913b, p. 81) Vol 16 No. 1, 5 April 1913 "The Moving Picture World, April to June 1913". XVI. New York: Chalmers Publishing. 1913b. {{cite journal}}: Cite journal requires |journal= (help)
MPW 1913b, pp. 68, 81. "The Moving Picture World, April to June 1913". XVI. New York: Chalmers Publishing. 1913b. {{cite journal}}: Cite journal requires |journal= (help)
Wids Film Daily, Wednesday 30 July 1919
MPW 1913a, p. 868. "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
(MPW 1913b) 5 April 1913, p. 68, col. 1 "The Moving Picture World, April to June 1913". XVI. New York: Chalmers Publishing. 1913b. {{cite journal}}: Cite journal requires |journal= (help)
Although the judge at the injunction hearing suggested 'Sister Beatrice', and this name was publicised in the press reports, it was advertised by the Shaftesbury Feature Film Co. as Sister Beatrix. (See Cinema News & Property Gazette, 5 February 1913, p. 16.)

www26.us.archive.org

* "The International Federation of Film Archives (FIAF) defines the country of origin as the country of the principal offices of the production company or individual by whom the moving image work was made." See Choice of Original Release Title in Country of Origin as Main Entry.
- The film's producer was the American Joseph Menchen who acquired the sole film rights from Max Reinhardt, and from Bote & Bock, the publishers of Karl Vollmoeller and Engelbert Humperdinck. See 'The Stage' Year Book 1913, pp. 293–294. Menchen had offices at 20 Frith Street, Soho, at 20 Villiers St., and then at 3–7 Southampton St., Strand, London WC1. See "Joseph Menchen". The London Project. AHRB Centre for British Film and Television Studies. Retrieved 21 December 2012. 'The Stage' Year Book. 1913. pp. 293–294.
- * "The International Federation of Film Archives (FIAF) defines the country of origin as the country of the principal offices of the production company or individual by whom the moving image work was made." See Choice of Original Release Title in Country of Origin as Main Entry.
  - The film's producer was the American Joseph Menchen who acquired the sole film rights from Max Reinhardt, and from Bote & Bock, the publishers of Karl Vollmoeller and Engelbert Humperdinck. See 'The Stage' Year Book 1913, pp. 293–294. Menchen had offices at 20 Frith Street, Soho, at 20 Villiers St., and then at 3–7 Southampton St., Strand, London WC1. See "Joseph Menchen". The London Project. AHRB Centre for British Film and Television Studies. Retrieved 21 December 2012. 'The Stage' Year Book. 1913. pp. 293–294.
  - 'The Stage' Year Book 1913, p. 868. 'The Stage' Year Book. 1913. pp. 293–294.
  - 'The Stage' Year Book 1913, pp. 293–294. 'The Stage' Year Book. 1913. pp. 293–294.
  - This statement appears in an affidavit by Vollmoeller in a 1912 copyright court case ('The Stage' Year Book 1913, pp. 293–294) involving an unauthorised film of his play, Das Mirakel. 'The Stage' Year Book. 1913. pp. 293–294.

atlas-patrimoine93.fr

Patrimoine en Seine-Saint-Denis: les studios et laboratoires L'Eclair, pp. 3–4 (in French). Menchen sold the studios in May 1914, just before the outbreak of the First World War.

bbk.ac.uk

londonfilm.bbk.ac.uk

* "The International Federation of Film Archives (FIAF) defines the country of origin as the country of the principal offices of the production company or individual by whom the moving image work was made." See Choice of Original Release Title in Country of Origin as Main Entry.
- The film's producer was the American Joseph Menchen who acquired the sole film rights from Max Reinhardt, and from Bote & Bock, the publishers of Karl Vollmoeller and Engelbert Humperdinck. See 'The Stage' Year Book 1913, pp. 293–294. Menchen had offices at 20 Frith Street, Soho, at 20 Villiers St., and then at 3–7 Southampton St., Strand, London WC1. See "Joseph Menchen". The London Project. AHRB Centre for British Film and Television Studies. Retrieved 21 December 2012. 'The Stage' Year Book. 1913. pp. 293–294.
- * "The International Federation of Film Archives (FIAF) defines the country of origin as the country of the principal offices of the production company or individual by whom the moving image work was made." See Choice of Original Release Title in Country of Origin as Main Entry.
  - The film's producer was the American Joseph Menchen who acquired the sole film rights from Max Reinhardt, and from Bote & Bock, the publishers of Karl Vollmoeller and Engelbert Humperdinck. See 'The Stage' Year Book 1913, pp. 293–294. Menchen had offices at 20 Frith Street, Soho, at 20 Villiers St., and then at 3–7 Southampton St., Strand, London WC1. See "Joseph Menchen". The London Project. AHRB Centre for British Film and Television Studies. Retrieved 21 December 2012. 'The Stage' Year Book. 1913. pp. 293–294.
  - Elite Sales Agency at the London Project

books.google.com

Blom 2000, p. 401 cites one source which suggests that Noggerath had paid 3 million French francs to Menchen, but Blom (without further explanation) feels that this a gross exaggeration. One possible reason for this very large sum is that the French franc (FF) was re-valued in 1960 at 1/100th of its old value,^[109] so 3,000,000 'old' francs equates to 30,000 nouveaux francs. In 1913 both US and French currencies were on the gold standard, when US$ 1 = 1.505g Au and FF 1 = 0.29g Au. This gives a ratio of about 5.18 (new) francs to the dollar, so 30,000 FF was worth about $5,792.^[110] Another way to look at value is through wages: in 1910 the average US wage was 22 cents per hour, and the average US worker made between $200 and $400 per year. Adjusted for inflation, $5,792 in 1910 is equivalent to about $138,666 in 2015.^[111] Blom, Ivo Leopold (2000). Jean Desmet and the Early Dutch Film Trade. Film Culture in Transition. Amsterdam University Press. ISBN 9789053565704.
At the time he went to see The Miracle, Hindemith was the leader of the orchestra of the Neues Theater, Frankfurt, where Walter Kollo's Posse mit Gesang – 'farce with singing' Filmzauber (a parody on the current craze for silent films) was running. A lost dramatic piece by Hindemith entitled Die Tragödie im Kino also dates from this period. (See Luttmann 2013.) His letter describes Filmzauber (which he had already played 17 times and was about be sick of) as "utter nonsense from beginning to end, yet funny and charming[...] We play the whole thing by heart and prick up our ears only when a new joke is cracked above our heads."
Hindemith picks out Kind, ich schlafe so schlecht on YouTube (rec. 1912) (Baby, I slept so bad) and Unter'n Linden on YouTube as "numbers of truly classical beauty". (Source: Skelton 1995, p. 6). The contrast with The Miracle can be heard below in a clip which combines a 1932 recording of extracts from Humperdinck's score with the final scene from Menchen's film.
Wagner's Bayreuth Festspielhaus was previously the only place where Parsifal was allowed to be staged, although a number of concert performances had been given outside Bayreuth: the ban was lifted from 1 January 1913. Luttmann, Stephen (2013). Paul Hindemith: a research and information guide. Routledge Music Bibliographies (2nd, revised & annotated ed.). Routledge. ISBN 978-1-135-84841-5. Hindemith, Paul (1995). Selected Letters of Paul Hindemith. (transl. and ed. by Geoffrey Skelton). Yale University Press. pp. 5–6. ISBN 978-0-300-06451-3.
The exhaustive comparative study by Guiette (Guiette 1928) lists around 180 versions. Guiette, Robert (1928). La Légende de la Sacristine: étude de littérature comparée (in French) (reprint, Slatkine ed.). Paris: Librairie Honoré Champion. ISBN 9782051002714. {{cite book}}: ISBN / Date incompatibility (help)
Leach 1993, p. 104. Leach, Robert (1993). Vsevolod Meyerhold. Directors in Perspective. Cambridge University Press. ISBN 978-0-521-31843-3.
Finkielman 2004, pp. 34–35. Finkielman, Jorge (2004). The film industry in Argentina: an illustrated cultural history. McFarland. pp. 34–35. ISBN 978-0-7864-1628-8.
Guiette 1928, p. 369. Guiette, Robert (1928). La Légende de la Sacristine: étude de littérature comparée (in French) (reprint, Slatkine ed.). Paris: Librairie Honoré Champion. ISBN 9782051002714. {{cite book}}: ISBN / Date incompatibility (help)
The next production at Covent Garden was the British première of Stravinsky's Petrouchka by Diaghilev's Ballets Russes on Tuesday 4 February 1913, see Riley 2010, p. 70. A statement in the Wellington (NZ) Evening Post for 6 March 1914 that The Miracle ran for 3 months at Covent Garden probably means "in London & rest of the UK". Riley, Matthew (2010). "Modernism, Diaghilev and the Ballets Russe in London 1911–29". In Riley, Matthew (ed.). British Music and Modernism, 1895–1960. Ashgate Publishing. ISBN 978-0-7546-6585-4.
Hischak 2008, p. 3. Hischak, Thomas S. (2008). The Oxford Companion to the American Musical: Theatre, Film, and Television. Oxford University Press, USA. ISBN 978-0-19-533533-0.
Blom 2000, p. 401n. Blom, Ivo Leopold (2000). Jean Desmet and the Early Dutch Film Trade. Film Culture in Transition. Amsterdam University Press. ISBN 9789053565704.
According to De Kunst journal, cited in Blom 2000, p. 401n. Blom, Ivo Leopold (2000). Jean Desmet and the Early Dutch Film Trade. Film Culture in Transition. Amsterdam University Press. ISBN 9789053565704.
Skelton 1995, pp. 5–6. Hindemith, Paul (1995). Selected Letters of Paul Hindemith. (transl. and ed. by Geoffrey Skelton). Yale University Press. pp. 5–6. ISBN 978-0-300-06451-3.

cam.ac.uk

search.lib.cam.ac.uk

Souvenir Programme 1913. Prof. Max Reinhardt's great mystery play : The Miracle, adapted as a Lyricscope play / music by Engelbert Humperdinck; book by Karl Vollmoeller; by arrangements with Joseph Menchen; adapted for cinema by Michel Carré. Birmingham, UK: Shakespeare Press. 1913. (Synopsis of the Play. – Chants and Choruses.)

cinemacontext.nl

Mirakel, Das (1912 D). Cinema Context (in Dutch). Accessed 12 February 2016.
Flora (Wagenstraat), Den Haag, Wagenstraat 79–81. Cinema Context (in Dutch). Accessed 12 February 2016.

cinematreasures.org

The Park Theatre had opened in January 1903 as the Majestic with the musical The Wizard of Oz, which ran for ten months. Menchen provided (and possibly designed) the lighting and "jaw-dropping special effects" for the show, which included a ten-minute tornado. Sources: Menchen 1906, p. 10. Krefft, Bryan. "International Theatre". Cinema Treasures. Retrieved 3 January 2013. Menchen, Joseph (1906). Improved electrical theatrical appliances: Catalogue no. 4. September 1, 1906 (PDF). New York: Joseph Menchen Electrical Company.

cineressources.net

The Park Theatre had opened in January 1903 as the Majestic with the musical The Wizard of Oz, which ran for ten months. Menchen provided (and possibly designed) the lighting and "jaw-dropping special effects" for the show, which included a ten-minute tornado. Sources: Menchen 1906, p. 10. Krefft, Bryan. "International Theatre". Cinema Treasures. Retrieved 3 January 2013. Menchen, Joseph (1906). Improved electrical theatrical appliances: Catalogue no. 4. September 1, 1906 (PDF). New York: Joseph Menchen Electrical Company.
The Kinematograph Daily, 26 March 1913, p. 20.
The Kinematograph Daily, 26 March 1913, outside rear cover advertisement. The publication was a special edition of the weekly Kinematograph, produced during the first national cinematographic trade exhibition in Britain at Olympia in 1913.
Menchen 1906, p. 3. Menchen, Joseph (1906). Improved electrical theatrical appliances: Catalogue no. 4. September 1, 1906 (PDF). New York: Joseph Menchen Electrical Company.

cobbles.com

An early method of distributing films. J. A. Aberdeen. "The Early Film Business. Distribution: States Rights or Road Show". Hollywood Renegades' Archive.

ellisisland.org

Ellis Island passenger record.

encyclopedia-titanica.org

A complete biography of Henry B. Harris appeared in Billboard, 2 December 1911.

files.wordpress.com

ivoblom.files.wordpress.com

Blom 1999. Blom, Ivo (1999). "Chapters from the life of a camera-operator: the recollections of Anton Noggerath" (PDF). Film History. 11: 262–281. Retrieved 11 February 2016.

filmportal.de

eg Das Mirakel, filmportal.de, accessed 14 February 2025, which is also under the impression that it's a German film
Lichtbild-Bühne, Nr. 26, 16 May 1914 (in German) at filmportal.de Although this is not a perfect translation from the German, the phrase "...even enthusiasts say that the whole thing looks more like the original" appears almost verbatim (in English) in various advertisements and reviews of The Miracle in the UK and US press.
Mirakel at filmportal.de

flickr.com

The Picture House at 165 Oxford Street (1912 architects: Gilbert and Constanduros) later became the Academy 1-2-3. Re-opening in c.1928 as the Academy, the ICA met in the basement in the late 1940s, and the Marquee jazz club opened in the basement from 1958. with exterior contemporary photo. Source: Eyles, Allen. "Cinemas & Cinemagoing: Art House & Repertory", BFI screenonline. Accessed 18 December 2012. See also interior photographs at Flickr
The Picture House at 165 Oxford Street (1912 architects: Gilbert and Constanduros) later became the Academy 1-2-3. Re-opening in c.1928 as the Academy, the ICA met in the basement in the late 1940s, and the Marquee jazz club opened in the basement from 1958. with exterior contemporary photo. Source: Eyles, Allen. "Cinemas & Cinemagoing: Art House & Repertory", BFI screenonline. Accessed 18 December 2012. See also interior photographs at Flickr
The building where the Flora theatre was located still exists; the external façade is decorated just below the pediment with typical polychrome ceramic tiles showing Greek masks and musical instruments; the façade is topped with square capitals depicting stylised theatrical masks with merely eyes and eyebrows in Art Deco style. See photo at 79–81 Wagenstraat. Flickr. Accessed 11 February 2016
Glaciarium photo with history

fultonhistory.com

"Alleged Miracle piracy". Variety, 28 February 1913 Vol.XXIX, no. 13, p. 15, col. 3
New York Dramatic Mirror 16 November 1895, p. 22
"...the pictures so beautifully colored to resemble natural colors," "Variety", 21 February 1913.
Variety, 30 September 1911, p. 1 says $100,000, others give $430,000 in 9 months.
Special Cable to Variety, London, 1 May: "It has developed that before leaving this side on the Titanic, Henry B. Harris arranged with Joseph Menchen for the U.S. rights to the moving pictures of "The Miracle." Mr. Harris had the only negatives taken on board the boat." Variety, 4 May 1912, p. 1c.
Variety, 17 January 1913 p. 4b.
New York Dramatic Mirror, 15 January 1913
New York Dramatic Mirror, 12 March 1913, p. 30, col. 2
New York Clipper 7 May 1913 page 16
New York Evening Post, Saturday 12 January 1924, p.12

iamthewitness.com

See e.g. this uncomplimentary passage from the anti-semitic The International Jew by the car maker Henry Ford : "Al H. Woods has but one good eye. It is not his personal loss that matters, but the history of the misfortune which goes back to the time when Al was a member of an East side gang. The common report was that he used to play the piano in a downtown place, east of Fifth Avenue. Mr. Woods is also a distinguished patron of dramatic art — he presented The Girl from Rector's and The Girl in the Taxi, two of the most immoral and pointless shows of recent years. Several times he has secured the rights to certain Viennese operas, which were bad enough in themselves from a moral point of view, but which were at least constructed with true artistry; but even these he marred by an inept infusion of vulgarity and blague." The Dearborn Independent, 22 January 1921.

ibdb.com

The Bohemian Girl, Majestic Theatre. IBDB. Accessed 14 February 2016.

illinois.edu

idnc.library.illinois.edu

New York Clipper, 24 May 1913, p. 4c. The Liverpool Olympia (built 1905) was a purpose-built indoor circus and variety theatre.
New York Clipper, 16 November 1912. Continental-Kunstfilm had broken off filming of Das Mirakel in order to film In Nacht und Eis about the sinking of the Titanic and finished it by October.
The Player, 21 February 1913, p. 2b-c
"The Miracle", New York Clipper, 15 March 1913, p. 27a
The Player, 14 March 1913, p. 22d

imdb.com

Eine venezianische Nacht at imdb.

imslp.org

Humperdinck 1912. Humperdinck, Engelbert (1912). Das Wunder (in German, English, and Latin). Berlin: Bock & G. Bote.

itsmarc.com

* "The International Federation of Film Archives (FIAF) defines the country of origin as the country of the principal offices of the production company or individual by whom the moving image work was made." See Choice of Original Release Title in Country of Origin as Main Entry.
- The film's producer was the American Joseph Menchen who acquired the sole film rights from Max Reinhardt, and from Bote & Bock, the publishers of Karl Vollmoeller and Engelbert Humperdinck. See 'The Stage' Year Book 1913, pp. 293–294. Menchen had offices at 20 Frith Street, Soho, at 20 Villiers St., and then at 3–7 Southampton St., Strand, London WC1. See "Joseph Menchen". The London Project. AHRB Centre for British Film and Television Studies. Retrieved 21 December 2012. 'The Stage' Year Book. 1913. pp. 293–294.
- * "The International Federation of Film Archives (FIAF) defines the country of origin as the country of the principal offices of the production company or individual by whom the moving image work was made." See Choice of Original Release Title in Country of Origin as Main Entry.
  - The film's producer was the American Joseph Menchen who acquired the sole film rights from Max Reinhardt, and from Bote & Bock, the publishers of Karl Vollmoeller and Engelbert Humperdinck. See 'The Stage' Year Book 1913, pp. 293–294. Menchen had offices at 20 Frith Street, Soho, at 20 Villiers St., and then at 3–7 Southampton St., Strand, London WC1. See "Joseph Menchen". The London Project. AHRB Centre for British Film and Television Studies. Retrieved 21 December 2012. 'The Stage' Year Book. 1913. pp. 293–294.

legifrance.gouv.fr

Ordonnance no. 58-1341 du 27 décembre 1958 NOUVEAU FRANC (in French).

loc.gov

chroniclingamerica.loc.gov

Variety, 13 February 1914, p. 5, last col.

measuringworth.com

Measuring Worth: Seven Ways to Compute the Relative Value of a U.S. Dollar Amount – 1774 to Present

myheritage.com

Moving Picture News, Vol. 6, 7 December 1912, p. 12 [pdf p. 886]

natlib.govt.nz

paperspast.natlib.govt.nz

Evening Post (Wellington, NZ), 6 March 1914, p. 3
Poverty Bay Herald, XLI:13370, 2 May 1914, p. 1.
Wanganui Chronicle (NZ), 14 April 1914, p. 8
The next production at Covent Garden was the British première of Stravinsky's Petrouchka by Diaghilev's Ballets Russes on Tuesday 4 February 1913, see Riley 2010, p. 70. A statement in the Wellington (NZ) Evening Post for 6 March 1914 that The Miracle ran for 3 months at Covent Garden probably means "in London & rest of the UK". Riley, Matthew (2010). "Modernism, Diaghilev and the Ballets Russe in London 1911–29". In Riley, Matthew (ed.). British Music and Modernism, 1895–1960. Ashgate Publishing. ISBN 978-0-7546-6585-4.
"Rehearsals of the choir and of the actors in the various processions in The Miracle are now taking place in order that "The Miracle" moving picture may be produced at an early date. The Reinhardt film is 5,500 feet long and with the special choruses, Humperdinck's grand Opera music and the different processions, the dream picture will take up the whole evening." The New Zealand Observer, 8 November 1913, p. 23
i.e. a matinée and two evening performances. Manawatu Standard, 11 March 1908, Page 5
New Zealand Observer, Volume XXXIV, Issue 26, 7 March 1914, p. 6
New Zealand Observer, Volume XXXIV, Issue 31, 11 April 1914, p. 10. Ralph was later NZ representative of Liéff Pouishnoff in 1935, see The Press (Canterbury), Volume LXX, Issue 21081, 5 February 1934, p. 6.

nber.org

Bry, Gerhard (1960). Wages in Germany, 1871–1945 (PDF). (excerpt). National Bureau of Economic Research. p. 51. ISBN 0-87014-067-1. Retrieved 2 July 2016. {{cite book}}: ISBN / Date incompatibility (help)

news.google.com

The Age, 27 September 1913, p. 8, col. 2

newspaperarchive.com

Miss Stahl's Return, The Standard (London), 11 April 1912, p. 5, col. 2

nla.gov.au

nytimes.com

timesmachine.nytimes.com

New York Times, 15 March 1910
This "herculean task"(see MPW 1913a, p. 868) was carried out by seventy people, according to a report in the New York Times: "Film show in Covent Garden". New York Times, 9 December 1912. The process used may have been the Pathé colour process. Pathe employed over 400 women stencilers in 1910 in their Vincennes factory. "The Moving Picture World, January to March 1913". XV. New York: Chalmers Publishing. 1913a. {{cite journal}}: Cite journal requires |journal= (help)
"Film show in Covent Garden". New York Times, 9 December 1912
New York Times, 18 Feb 1913
"Motives and messages for the playgoer: Plays that hold". New York Times, 9 March 1913, p. x col. 3, with publicity photo of Joseph Klein.

ohiolink.edu

rave.ohiolink.edu

Dekker 2007, pp. 25–26. Dekker, Nicholas John (2007). The Modern Catalyst: German influences on the British stage, 1890–1918 (Thesis). The Ohio State University.

ozvta.com

Short biography of Harry Whaite at the Australian Variety Theatre Archive

perchtoldsdorf.at

P'dorf Rundschau 2006, pp. 4–5. "Winterwunder in Perchtoldsdorf" (PDF). Perchtoldsdorfer Rundschau (in German). Marktgemeindeamt Perchtoldsdorf. December 2006. Retrieved 23 June 2012.

rhul.ac.uk

charm.rhul.ac.uk

"Search Results for Einar Nilson". CHARM: AHRC Research Centre for the History and Analysis of Recorded Music. Retrieved 7 February 2025.

rochestersubway.com

"Rochester's Great Flood(s)" (19 May 2014). Rochestersubway. Accessed 14 February 2016.

romeartlover.it

In the publicity for the film the parish church was usually – and erroneously – called a cathedral. It is also known as a 'schloßkirche' or castle church, being located within the fortifications of the walled town. See Vienna seen by an Italian XVIIIth century traveller – Perchtoldsdorf

screenonline.org.uk

The Picture House at 165 Oxford Street (1912 architects: Gilbert and Constanduros) later became the Academy 1-2-3. Re-opening in c.1928 as the Academy, the ICA met in the basement in the late 1940s, and the Marquee jazz club opened in the basement from 1958. with exterior contemporary photo. Source: Eyles, Allen. "Cinemas & Cinemagoing: Art House & Repertory", BFI screenonline. Accessed 18 December 2012. See also interior photographs at Flickr
The Picture House at 165 Oxford Street (1912 architects: Gilbert and Constanduros) later became the Academy 1-2-3. Re-opening in c.1928 as the Academy, the ICA met in the basement in the late 1940s, and the Marquee jazz club opened in the basement from 1958. with exterior contemporary photo. Source: Eyles, Allen. "Cinemas & Cinemagoing: Art House & Repertory", BFI screenonline. Accessed 18 December 2012. See also interior photographs at Flickr

sibeliusone.com

Kurki, Eija (2020). "Einar Nilson – composer of the first Jedermann music". Retrieved 7 February 2025.

sloughhistoryonline.org.uk

Slough, Windsor and Eton Observer & 26 July 1913, p. 8. "The "Miracle" coming to Slough". Slough, Windsor and Eton Observer: 8, col. 3. 26 July 1913. NB Website states that their online zoomable image viewer is not working. In 'Views of current image' menu on the left, download 'High resolution image (2.4 MB)' by right-clicking and choose 'Save link as...' etc.
A July 1913 article in the Slough, Windsor and Eton Observer & 26 July 1913, p. 8 places Menchen at the centre of the film's genesis and production, "with the co-operation of Michel Carré." This article contains remarkable similarities to the one which appeared in The Cinema, July 1912, p. 7 (pdf p. 205), but with Carré's name replacing Reinhardt's; both articles appear to have been written by the same person, who seems to have written and handled all the film's publicity (possibly Menchen, or his "commander-in-chief", George Crager). "The "Miracle" coming to Slough". Slough, Windsor and Eton Observer: 8, col. 3. 26 July 1913. NB Website states that their online zoomable image viewer is not working. In 'Views of current image' menu on the left, download 'High resolution image (2.4 MB)' by right-clicking and choose 'Save link as...' etc.

stokowski.org

Russian Symphony Orchestra of New York. Accessed 19 July 2012.

theguardian.com

"Wendy Toye obituary". The Guardian. 28 February 2010. Retrieved 21 December 2012.

univie.ac.at

othes.univie.ac.at

Konrath 2008, pp. 124–125. Konrath, Stefan (2008). Der Blechhaufen von Wien – eine Studie über die wirtschaftliche und kulturhistorische Bedeutung der Wiener Rotunde (Thesis) (in German). University of Vienna.

usinflationcalculator.com

US Inflation calculator

worldcat.org

"Sumurûn". The Times. London. 20 February 1911., reprinted in: Programme of the Twentieth Rehearsal and Concert (PDF). Boston Symphony Orchestra. 31 March 1911. p. 1503. (pdf p. 39.)

youtube.com

At the time he went to see The Miracle, Hindemith was the leader of the orchestra of the Neues Theater, Frankfurt, where Walter Kollo's Posse mit Gesang – 'farce with singing' Filmzauber (a parody on the current craze for silent films) was running. A lost dramatic piece by Hindemith entitled Die Tragödie im Kino also dates from this period. (See Luttmann 2013.) His letter describes Filmzauber (which he had already played 17 times and was about be sick of) as "utter nonsense from beginning to end, yet funny and charming[...] We play the whole thing by heart and prick up our ears only when a new joke is cracked above our heads."
Hindemith picks out Kind, ich schlafe so schlecht on YouTube (rec. 1912) (Baby, I slept so bad) and Unter'n Linden on YouTube as "numbers of truly classical beauty". (Source: Skelton 1995, p. 6). The contrast with The Miracle can be heard below in a clip which combines a 1932 recording of extracts from Humperdinck's score with the final scene from Menchen's film.
Wagner's Bayreuth Festspielhaus was previously the only place where Parsifal was allowed to be staged, although a number of concert performances had been given outside Bayreuth: the ban was lifted from 1 January 1913. Luttmann, Stephen (2013). Paul Hindemith: a research and information guide. Routledge Music Bibliographies (2nd, revised & annotated ed.). Routledge. ISBN 978-1-135-84841-5. Hindemith, Paul (1995). Selected Letters of Paul Hindemith. (transl. and ed. by Geoffrey Skelton). Yale University Press. pp. 5–6. ISBN 978-0-300-06451-3.
Video on YouTube