A Brief
History of the Carousel
July
4, 1941, Vale, Oregon
Carousel vs.
Merry-Go-Round
The name “carousel” may be derived from the Italian garosello and the Spanish carosella which mean “little war” or the
French carrousel which means
tournament. “Carousel” is the common English spelling, but it has been spelled
“carrousel”, “carousal”, “carousell”, “carrousell”, “carroussell”, “carousselle” and “carousal”. Carousels are also referred to
as merry-go-rounds and flying horses, carry-us-alls
among other names in the United States, roundabouts, gallopers and whirligigs
in the United Kingdom, manège de chevaux de bois in France, torneo in Italy, cabillitos or tio vivo in Spain, and Karussel in Germany. The terms
“carousel” and “merry-go-round” are synonymous.
The first use of the term merry-go-round is from a 1762
poem entitled Bartleme Fair by George Alexander Stevens
(1710-1784) describing the St. Bartholomew Fair in England:
Here's Whittington's cat, and the
tall dromedary,
The chaise without horses, and Queen of Hungary;
The merry-go-rounds, come who rides? come who rides?
Wine, beer, ale and cakes, fire-eating besides;
The famed learned dog that can tell all his letters,
And some men, as scholars, are not much his betters.
Evolution of the Carousel
Although it is not known when the first carousel
appeared, the earliest known drawing of one is from a Byzantine relief dating to
nearly 1600 years ago. The carousel probably evolved independently in several
parts of the world. The modern carousel seems to have evolved in Europe and/or
the Middle East in the 12th century from jousting where horsemen
would toss perfume-filled fragile balls to and from one another as a training
exercise to prepare for combat. Losers had the perfume fragrance on them! In
Spain (maybe France), the tossing of balls was eliminated and replaced by
riders spearing small hanging rings. The spearing of rings evolved into
elaborate and pompous aristocratic tournaments (carrousels in French) promoted
by Charles VIII. Eventually, by the late 17th century or early 18th
century, to spare overworked horses, practice for carrousels involved riders
suspended and rotating around a center pole spearing small hanging rings.
Eventually, riders were on wooden horses which were either suspended or
attached to a rotating platform. The game attracted many participants, and by
the 17th century, the game replaced serious jousting by the military
and was flourishing among the public in France and in other parts of Europe by
1800 as a form of entertainment. This practice seems to have evolved into the
game of catching the brass ring on 19th and 20th century
carousels.
An early (circa 1789) French
carousel where the riders speared the ring. From Fried, 1964.
The carousel did not always involve spearing rings as can
be seen below in a drawing based on the description of a carousel in Phillippopolis, Bulgaria in The Travels of Peter Mundy, 1608-1667. Obviously, the carousel
quickly became an amusement for people of all ages.
From Fried, 1964
Soon, merry-go-rounds (referred to as roundabouts in the United Kingdom) of
various styles began appearing on playgrounds. Many styles are still
manufactured and can be found on playgrounds throughout the United States.
A health carousel from the Parker
Carousel Museum in Leavenworth, Kansas.
The Modern Carousel
The modern carousel was born in the 18th century. By the early
19th century carousels with carved horses had appeared. Soon,
portable, traveling machines spread throughout Europe. The early carousels were
the “flying” style where the riders with or without horses were suspended by
chains and/or rods, and the force created by spinning the mechanism by which
the horses were suspended would swing, “fly”, the horses outward much like a
rotating swing (see above figure). Many were in use in picnic grounds and parks
in the eastern United States.
A “Flying Horses” carousel at Watch Hill, Rhode Island
The early horses were primitive, small, crudely carved and resembled horses
from a hobby or rocking horse. In fact, the carousels at Watch Hill, Rhode
Island and Martha’s Vineyard may well have been constructed from surplus
rocking horses. As the carousels increased in size because of the evolution of
the power source from human/horse/mule power to steam and electricity, the
carvings became larger and more intricate. By the later 1800s, horses were
often adorned with jewels, flowers, ribbons and tassels. Some carvers placed
bedrolls or hunted animals and other secondary carvings behind the saddle. Many
carvers used real horsehair tails rather than carved tails. Some of the very
early horses used leather saddles and ears. Often, the eyes were glass.
An early English “dobby”
Early “Flying”
Carousels. From Benjamin,
William and Barbara Williams. 2016. Andrew
Christian and Charles W. F. Dare. Carousel History. http://carouselhistory.com/andrew-christian-and-charles-w-f-dare/
A circa 1865
Carousel at the Parker Carousel Museum in Leavenworth, Kansas
The Platform Carousel
The platform carousel with the horses attached to poles/rods was introduced
by 1876. Frederick Savage, an engineer/machinist from Kings Lynn, England, who
was initially a manufacturer of agricultural machinery developed a platform
carousel which he referred to as “gallopers” in England at about the same time.
Often the platform carousels are embellished with beautiful and artistic
rounding boards, shields and mirrors. Chariots or benches which were favored by
women and young children were a part of early carousels. In 1885, Frederick
Savage introduced the crank and gear mechanism invented by Robert Tidman of Norwich, England that made the horses move up and
down. In the United States, William F. Mangels improved on the Tidman crank and gear mechanism. By 1891, Savage had a
sliding platform where the horses would slide outward on the platform a few
degrees as the platform rotated (see carousel at Six Flags Great Adventure in
New Jersey). Carousel manufacturers in the United States did not use sliding
platforms.
Construction of a Platform Carousel
How the carousel
is constructed and powered is usually not obvious since various scenery panels
and mirrors often conceal the mechanism. The carousel rotates around a
stationary center pole that is supported about halfway up the pole by legs
(diagonal support poles) similar to a camera tripod.
At the bottom of the pole are horizontal supports resting on the ground. About
half way up the center pole is a ring and pinion gear mechanism (the sweep hub)
from which the sweeps radiate. A large diameter ring gear mechanism on which
the sweeps rest and are attached is driven by a motor and clutch assembly (see
diagram and photographs below) which rotates the carousel.
From How Products Are Made: http://www.madehow.com/Volume-4/Carousel.html
These photographs
show the drive mechanism on the Dentzel carousel in
Meridian, MS. Note how the photographs resemble diagram above.
The ring gear and the
crank mechanism that raises and lowers the jumpers.
The cranking rod
mechanism allowing for the rise and fall of the carousel horses/menagerie figures
also radiates outward from the center pole (not visible on the above
photographs since this carousel has no jumpers). The sweeps are kept in place
by sweep stay rods extending from the sweeps to a main ring bearing attached to
an extension of the center pole. The main ring bearing allows the sweep stay
rods to rotate with the carousel. The platform is suspended from the sweeps by
drop rods and the mechanism supporting the animals. The mechanism must be
strong enough to support 30,000 pounds of platform, figures and riders. The
main ring bearing is responsible for supporting the entire weight of the
carousel.
From How Products Are Made: http://www.madehow.com/Volume-4/Carousel.html
The entire drive
and support mechanism and frame are usually masked by rounding boards, center
panels and a canopy often made of canvas.
Most parts of the
carousel can be found on the photograph below of a 1930s Allan Herschell carousel.
Photograph from
the Brass Ring Carousel Company:
An earlier version of the platform carousel was introduced in the early
1800s. By the late 1800s (circa 1878), the Armitage-Herschell
Company had developed a carousel that rotated by wheels on a track. In this
type of carousel, the platform rests on sweeps that extend from the center
pole. Power, originally steam, was applied from outside the carousel via a
drive cable. The photos below are by Rich Kenyon who restored this classic and
became the curator of the rare circa 1906 Herschell-Spillman
carousel in Schenevus, New York.
A Track Carousel at the Heritage Center in Abilene,
Kansas
Wheel on the track supporting the sweeps. Photo by Rich
Kenyon.
From the National Carousel Association: http://carousels.org/psp/Schenevus/IMG_0010.html
The above sweep and wheel mechanism exposed. Photo by
Rich Kenyon.
From the National Carousel Association: http://carousels.org/psp/Schenevus/IMG_0010.html
Sweeps extending from the center pole. Photo by Rich
Kenyon.
From the National Carousel Association: http://carousels.org/psp/Schenevus/IMG_0010.html
The early platform carousels had the horses rigidly fixed to the platform
The Armitage-Herschell Company used a rocker
mechanism that made the horses rock to more closely simulate a ride on a real
horse.
The rocker mechanism. Photo by Rich Kenyon.
From the National Carousel Association: http://carousels.org/psp/Schenevus/IMG_0010.html
Carousel Power Mechanism
By 1680, early carousels were powered by horses spinning the carousel or by
one or more people pushing or pulling the platform. Around 1832, a crank and
gear mechanism was introduced so a man could spin the platform by cranking.
Frederick Savage introduced a bicycle powered carousel called a velocipede.
Steam was first used by Thomas Bradshaw circa 1863 to power a carousel. Sidney
George Soame in 1865 at the Alysham
Fair in England also used steam to power his “steam circus” carousel. Soame used a stationary engine outside the carousel with a
belt drive turning the platform. The Soame mechanism
was unsatisfactory, but Frederick Savage improved on the Soame
mechanism by placing the engine in the center. It was Savage who successfully
popularized steam powered carousels. Steam did not power carousels in the U. S.
until the early 1880s. Although carousels eventually became electrified, there
are remaining steam-powered carousels in America that operates every Labor Day weekend at the annual Western
Minnesota Steam Threshers Reunion in Rollag,
Minnesota and the MidWest Old Threshers gathering in
Mt. Pleasant, Iowa.
Frederick Savage
The mechanism in the center of the carousel that supports the power source and
center pole from which the platform is suspended is referred to as the truck, a
term probably dating back to the days of mostly portable carousels.
More recently, some carousels, both new and classic, have been converted to
solar power.
Popularity in the United States
Most historians believe that the oldest carousel in existence in America
dates to 1878 although carousels were introduced as early as 1825. Gustav Dentzel is credited with popularizing the carousel in the
United States. With the increasing availability of inexpensive trolley and
train transportation, the popularity of the carousel grew. Amusement parks were
often strategically located at the ends of the trolley and train lines.
Eventually, approximately 4,000 carousels were manufactured in the United
States during the Golden Age of Carousels (1880-1930). Only 148 of these
classic carousels are still intact.
Gustav Dentzel
In the early of days of the carousel in America, transporting carousels and
amusement equipment and the traveling amusement show very difficult. The
development and expansion of America’s railroad system provided a quicker and
more convenient transport mechanism and led to the development of the traveling
amusement shows.
Horses, Menagerie Animals,
Chariots and Tubs
Carousels in the United States often have horses and menagerie animals
carved by more than one carver (see Carvers
and Manufacturers page). Hand carved horses were made until the 1920s when
a combination of wood and metal (cast aluminum) was introduced by Allan Herschell.
As carousels became more popular, the horses and menagerie animals evolved
from the simple to the more ornate and fancier with elaborate trappings and
secondary carvings.
A typical, classic,
wooden carousel is carved from up to 70 pieces of wood. Bass wood was primarily
used, but other types of wood such as poplar and even pine were used. The
pieces were shaped and glued together to form hollow structures which are
stronger, lighter and more durable than solid structures. Heads and legs are
carved separately and attached to the bodies with dowels and glue. Trappings
and secondary carvings were used to embellish the figures. The outside (the “romance
side”) of horses and chariots is almost always more intricately carved and
adorned than the inside. Daniel Muller carved both sides of his chariots.
Many carousel manufacturers used the Lochman
carving machine, invented in 1904, that could roughly carve four pieces
simultaneously using finished heads and bodies as models. The intricate work
was always done by hand. The introduction of the carving machines allowed for
more intricate inner row horses. By the 1930s, the animals were made entirely
of aluminum until this medium was replaced by fiberglass.
The horses are of two main types: jumpers and standers. Jumpers have all
four legs in the air while standers have three or four legs fastened to the
platform. Occasionally, prancers are found where the hind legs are attached to
the platform but the front legs are in the air. Menagerie animals and chariots
are often on the platform. Occasionally, a rotating tub or rocker is on the
platform. Carousels with only standing figures are referred to as stationary.
From L to R: Jumper, Stander, Prancer
Menagerie Animal
L to R: Chariot, Rotating (Spinning) Tub, Rocking Chariot
Menagerie animals of every imaginable species, real and fictional, have
been found on carousel platforms. Since surveys demonstrated that children of
all ages always prefer to ride a horse and since some of the menagerie animals
often frighten children, few menagerie animals were carved or manufactured
after 1930.
Most of the carvers were skilled artisans who had immigrated to America
from Germany, Russia and Italy. As the immigrants became “Americanized”, their
themes became more patriotic and were often adorned with American flags, Uncle
Sam, and Wild West themes such as cowboys, Native Americans and the cavalry.
Horse adorned with American flag
Park and Portable (Traveling)
Carousels
Because of limited transportation in the early days of the carousel in
America, the early carousels were small and easily transported by wagons. The
carousel at Indian Walk Shops in Wrightstown, PA is one of the last carousels
still wagon mounted. With the expansion of America’s railroad network, larger
portable carousels could be manufactured and transported by rail. To provide
for income on weekends, some rail and trolley companies built parks at the end
of their rail lines. The trolley parks were in a rural setting providing a
place for relaxation. Often, the parks were near a body of water which served
as a swimming pool. Soon, food vendors appeared in the parks. Amusements and
large, permanent carousels (park models) were installed in the parks to provide
entertainment. Kennywood Park in West Mifflin, PA complete with the original
trolley station is an extant example of a trolley park. There was an increase
in the number of these trolley parks in the early 1900s.
The average diameter of a park carousel is 40 to 50 feet that carry three
to four abreast figures. Stein and Goldstein manufactured a sixty-five feet,
six abreast park model. Many of the buildings housing the park models are very
ornamental and designed by the carousel manufacturers.
Some manufacturers such as Marcus Illions and
William Mangels made small, easily transportable street carousels as can be
seen from the 1909 photo below. The street carousels were eventually banned in
New York City, but some were still around in the 1950s according to one of our
followers who remembers riding on one as a child in Brooklyn. The last
remaining one in the U S resides at Merrie Mill Farm in Keswick, Virginia.
Horse Drawn Kiddie Carousel at Merrie Mill Farm in
Keswick, Virginia.
Direction of Rotation
Carousels manufactured in the United States and most manufactured in Europe
rotate counterclockwise. Those made in England rotate clockwise. The reason for
the counterclockwise rotation is that most people are right handed and reaching
for the brass ring is easier with the right hand. A clockwise rotation would
require reaching for the brass ring with the left hand. Since the brass ring
catching activity never was popular in England, there was no reason to change
the direction of rotation.
Styles of Horses
Three main styles of carousels in the United States are recognized. The
Coney Island style horses are “flamboyant” with flowing manes, many jewels and
gold and silver leaf. The Coney Island carvers and manufacturers include William
F. Mangels, Marcus Illions, Charles Loof, Charles Carmel, Timothy and Bartholomew Murphy and Solomon Stein and Harry Goldstein. The Philadelphia carousel style is
characterized by “a more natural and realistic depiction of horses and
menagerie animals” and was popularized by the Philadelphia Toboggan Company,
Gustav Dentzel, E. Joy Morris, Charles Leupold and Daniel and Alfred Muller. The Country Fair
style was developed by Charles Dare in New York City and in North Tonawanda,
New York and popularized by Allan Herschell. Charles
Parker of Kansas also carved in the Country Fair style. Country Fair carvings
are simple and manufactured for ease of portability and erection. Weedon and
Ward (1980) say that the styles are sometimes difficult to discern because the
styles “show considerable cross-fertilization”.
Styles (L
to R): Cony Island, Philadelphia, Country Fair
Carvers and Manufacturers
The major carousel
manufacturers in the United States were Allan Hershell,
Charles I. D. Looff, Gustav Dentzel,
Solomon Stein and Harry Goldstein, the Philadelphia Toboggan Company and
Charles Wallace Parker. There were several minor manufacturers including
William Mangels, Charles W. Dare, P. J. Marqua
Company (which became the Gem Novelty Company in 1901 and the United States
Merry-Go-Round Company in 1909), Bungarz Steam Wagon
and Carrousele Works, the Murphy Brothers, Norman
& Evans (William Norman and Spalding Evans), and the American Carouselle and Toy Company. Also see the “Carvers and Manufacturers” page.
Each company usually employed
carvers who worked under the direction and guidance of a master carver. The
style of the figures produced by the companies often changed as carvers joined
and left the company.
Band Organs
Early, a two-piece
band (drummer and flutist) played as the carousel rotated. Larger bands were
uncommon. Dentzel’s Atlantic City carousel was
rotated by a horse with music (?) provided by bells attached to the horse.
Air-powered band organs imported
primarily from Germany from the Bruder family, Frati and A. Ruth und Sohn companies soon appeared as an
integral part of the carousel.
Gebrüder Bruder fairground organ
A. Ruth und Sohn band organ. From Carousel History archival photographs.
http://carouselhistory.com/cnt-full-carousel-galleries/
Since the imported organs were very expensive due to import duties, Allan Herschell convinced Eugene De Kleist (originally von
Kleist), a German, to immigrate to North Tonawanda, New York from London where
he was manufacturing organs to build carousel band organs of European quality
for the North Tonawanda carousel manufacturers. In 1892, De Kleist set up his
operation, the North Tonawanda Barrel Organ Factory, on land sold to him for
$1.00 by the Armitage-Herschell Company. De Kleist
signed an agreement with Wurlitzer of Cincinnati, Ohio to exclusively supply
Wurlitzer with musical instruments. In 1897, the name of the North Tonawanda
Barrel Organ Factory was changed to the De
Kleist Musical Instrument Manufacturing Company. In 1908, De Kleist sold his
operation to Wurlitzer which renamed it the Rudolph Wurlitzer Company of North
Tonawanda.
Eugene De Kleist (from a flickr
collection by Dennis Reed, Jr.)
The North Tonawanda Barrel Organ Factory (from a flickr collection by Dennis Reed, Jr.)
Franz Rudolph Wurlitzer immigrated to the United States from Germany in
1853 and settled in Cincinnati, Ohio. While working for a banking firm,
Wurlitzer realized that the music stores had very few musical instruments and
were very high priced. His family in Germany were excellent instrument makers,
and Wurlitzer sold instruments made by his family to local music stores. This
was the beginning of the Rudolph Wurlitzer Company. Wurlitzer opened a military
band instrument factory in Cincinnati in 1861, and by 1865 the company was the
largest instrument maker in the United States. The company headquarters eventually
moved to Chicago. By 1907, the company was selling military band organs.
Franz Rudolph Wurlitzer (from http://stories-of-london.org/wurlitzer-1/)
Wurlitzer 165, Knoebels
Amusement Park, Elysburg, PA
In 1906, the North Tonawanda Musical Instrument Works was incorporated. The
company manufactured band organs and a variety of other musical instruments.
The company was purchased by Remington Rand which continued to manufacture band
organs into the 1920s.
A colorized 1913 photograph of The North Tonawanda Musical
Instrument Works. From NTHistory.com.
Artizan Style D. From the Allan Herschell Carousel Factory Museum.
http://carrouselmuseum.org/site/whats-inside/wurlitzer-music-roll-department/artizan-band-organ
The Niagara Musical Instrument Company and The Artizan
Factories, Inc also made band organs and a variety of other musical instruments
in North Tonawanda.
A 1926 photograph of the Artizan
Factories, Inc. From NTHistory.com.
Louis Berni, an immigrant from France, set up a
carousel band organ business in Manhattan where he imported organs and
converted them to play modern paper rolls. Berni was
a major supplier of band organs to carousel manufacturers, and many were sold
to the Philadelphia Toboggan Company. Several minor band organ companies were
also established in New York City.
The Knapp Barrel Organ Works in Philadelphia supplied a few band organs to
the Charles Looff carousel manufacturing company.
Now, many of the carousels use recorded music to preserve the delicate band
organs. The facades of many of the band organs, were carved by the same
artisans carving the horses and menagerie animals.
Decline of the Carousel Industry
The carousel industry faltered during WW1 since the American population was
pre-occupied with the war, wood was more difficult to get since much of it went
into the war effort, and there was a brief recession after the war. Although
the industry recovered some after the war, it was clear that the Golden Age of
the Carousel was beginning to come to an end. Carving machines and mass
production also took its toll on the industry. The carousel industry survived
during the 1920s, but by the early 1930s, it declined due to the Great
Depression, lack of supplies caused by World War 1 and the passing of the most
creative and skilled artisans. There was no longer much work for the creative
carvers. Most of their work consisted of restoration, repair
and touch-up.
Many antique carousels have been dismantled and individual horses and
figures have been sold. Gail Hall, a former executive with the National
Carousel Association, once said that carousel figure off the carousel is
nothing more than a “wooden statue”. Anne Dion Hinds, author of Grab the Brass Ring: The American Carousel,
says when on an operating carousel it comes alive. Organizations such as the
National Carousel Association focuses on the history and preservation of the
beautiful and historic machines.
Although the old industry has disappeared, carousels are still being
manufactured. Although most modern manufacturers make their figures of
fiberglass, The Carousel Works in Mansfield, Ohio (www. http://carouselworks.com/)
and Brass Ring Carousel Company in San Francisco and Chicago still manufacture
hand crafted, all wooden carousels. The carousel at Richland Carrousel Park in
Mansfield, Ohio built in 1990 by The Carrousel Works was the first
hand-crafted, wooden carousel built in the United States since the 1930s. All
the figures are in the style of Gustav Dentzel. The
Carrousel Works has nearly 30 new carousels in the United States and several
that they have refurbished.
The Carousel in Europe
While the carousel industry was developing in the United States, there was
a concomitant development in England, France, Belgium and especially in Germany
where it is thought most of the European carousel horses were carved. Michael Dentzel, Gustav’s father, was in business in the 1830s.
Most of the European carousels were travelling carousels in contrast to the
larger stationary carousels. A few European carousels such as the Savage
Gallopers from Kings Lynn, England, and the Friedrich Heyn
carousel manufactured in Germany have made their way to the United States.
There is Savage Gallopers at Six Flags Great Adventure in Jackson, NJ and a Heyn carousel at Storyland in Glen, NH.
For further information:
Dinger, Charlotte. 1983. Art of the
Carousel. Green Village, NJ: Carousel Art, Inc. ISBN 0-914507-00-1
Manns, William, Stevens, Marianne, Shank, Peggy. 1986. Painted Ponies. Millwood, NY: Zon International Publishing. ISBN 0-939549-01-9
Fraley, Tobin. 1994. The Great American Carousel: A Century of Master
Craftsmanship. San Francisco: Chronicle Books. ISBN 0-8118-0610-3
Fried, Frederick. 1964. A Pictorial
History of the Carousel. Vestal, NY: The Vestal Press Ltd. ISBN
0-911572-29-5.
Hinds, Anne Dion. 1990. Grab the
Brass Ring: The American Carousel. New York: Crown Pub.
Weedon,
Geoff and Richard Ward. 1981. Fairground
Art. London: White Mouse Editions, Ltd.
Carousel Magic
http://carouselmagic.com/history.htm
How Products Are
Made
http://www.madehow.com/Volume-4/Carousel.html
https://en.wikipedia.org/wiki/Carousel