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VINTAGE CAROUSEL HORSE
ORNATE DECORATIVE DESIGN
BRASS?BRONZE
LAQUERED WOODEN BASE
21cm TALL x 21cm LONG x 7cm WIDE
WEIGHS 1lb.13oz
ORNATE DECORATIVE DESIGN
BRASS?BRONZE
LAQUERED WOODEN BASE
21cm TALL x 21cm LONG x 7cm WIDE
WEIGHS 1lb.13oz
FYI
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A carousel (American English: from French carrousel and Italian carosello), roundabout (British English), hurdy-gurdy (Australian English, esp. SA), or merry-go-round, is a type of amusement ride consisting of a rotating circular platform with seats for riders. The "seats" are traditionally in the form of rows of wooden horses or other animals mounted on posts, many of which are moved up and down by gears to simulate galloping, to the accompaniment of looped circus music. This leads to one of the alternative American names, the galloper (however see ‘direction of rotation’ below). Other popular names are jumper, horseabout, horse tornado and flying horses.
Carousels are commonly populated with horses, each horse weighing roughly 100 lbs (45 kg), but may include a variety of mounts, for example pigs, zebras, tigers, or mythological creatures such as dragons or unicorns. Sometimes, chair-like or bench-like seats are used, and occasionally mounts can be shaped like aeroplanes or cars.
The "roundabouts" or "merry-go-rounds" installed in playgrounds are usually somewhat different devices: simple, child-powered rotating platforms with bars or handles to which children can cling while riding.
The modern carousel emerged from early jousting traditions in Europe and the Middle East. Knights would gallop in a circle while tossing balls from one to another; an activity that required great skill and horsemanship.[citation needed] This game was introduced to Europe at the time of the Crusades from earlier Byzantine and Arab traditions. The word carousel originated from the Italian Carosella and Spanish Carosella ("little battle", used by crusaders to describe a combat preparation exercise and game played by Turkish and Arabian horsemen in the 12th century). This early device was essentially a cavalry training mechanism; it prepared and strengthened the riders for actual combat as they wielded their swords at the mock enemies.
By the 17th century, the balls had been dispensed with, and instead, the riders had to spear small rings that were hanging from poles overhead and rip them off. Cavalry spectacles that replaced medieval jousting, such as the ring-tilt, were popular in Italy and France. The game began to be played by commoners, and carousels soon sprung up at fairgrounds across Europe. At the Place du Carrousel in Paris, an early make believe carousel was set up with wooden horses for the children.
By the early 18th century carousels were being built and operated at various fairs and gatherings in central Europe and England. Animals and mechanisms would be crafted during the winter months and the family and workers would go touring in their wagon train through the region, operating their large menagerie carousel at various venues. Makers included Heyn in Germany and Bayol in France. These early carousels had no platforms; the animals would hang from chains and fly out from the centrifugal force of the spinning mechanism. They were often powered by animals walking in a circle or people pulling a rope or cranking.
By 1803 John Joseph Merlin had a carousel in his Mechanical Museum in London, where gentry and nobility liked to gather on winter evenings. The horses "floated free over a pole". It was connected to a "big musical instrument that played a fully orchestrated concerto" and from the first note, the carousel would start turning while each horse would make a galloping movement with a visitor riding on its back. Merlin did not patent his inventions and engineers were allowed to come to create their own models of his creations.
Direction of rotation
Viewed from above, in the United Kingdom, merry-go-rounds, called ‘gallopers’ by the showmen community when populated by model horses, usually turn clockwise (from the outside, animals face to the left), while in North America and Mainland Europe, carousels typically go counterclockwise (animals face to the right).
Modern carousels
By the mid-19th century the platform carousel was developed; the animals and chariots were fixed to a circular floor that would suspend from a centre pole and rotate around. These carousels were called dobbies and were operated manually by the operator or by ponies.
In mid-19th-century England, the carousel became a popular fixture at fairs. The first steam-powered mechanical roundabout, invented by Thomas Bradshaw, appeared at the Aylsham Fair in about 1861. It was described by a Halifax Courier journalist as "a roundabout of huge proportions, driven by a steam engine which whirled around with such impetuousity, that the wonder is the daring riders are not shot off like cannon- ball, and driven half into the middle of next month."
Soon afterwards, English engineer Frederick Savage began to branch out of agricultural machinery production into the construction of fairground machines, swiftly becoming the chief innovator in the field. Savage's fairground machinery was exported all over the world. By 1870, he was manufacturing carousels with Velocipedes (an early type of bicycle) and he soon began experimenting with other possibilities, including a roundabout with boats that would pitch and roll on cranks with a circular motion, a ride he called 'Sea-on-Land'.
Savage applied a similar innovation to the more traditional mount of the horse; he installed gears and offset cranks on the platform carousels, thus giving the animals their well-known up-and-down motion as they travelled around the center pole – the galloping horse. The platform served as a position guide for the bottom of the pole and as a place for people to walk or other stationary animals or chariots to be placed. He called this ride the 'Platform Gallopers' . He also developed the 'platform-slide' which allowed the mounts to swing out concentrically as the carousel built up speed. Fairground organs (band organs) were often present (if not built in) when these machines operated. Eventually electric motors were installed and electric lights added, giving the carousel its classic look.
These mechanical innovations came at a crucial time, when increased prosperity meant that more people had time for leisure and spare money to spend on entertainment. It was in this historical context that the modern fairground ride was born, with Savage supplying this new market demand. In his 1902 Catalogue for Roundabouts he claimed to have "... patented and placed upon the market all the principal novelties that have delighted the many thousands of pleasure seekers at home and abroad."
In the United States, the carousel industry was developed by immigrants, notably Gustav Dentzel of Germany and Charles W.F. Dare from England, from the late 19th century. Several centers and styles for the construction of carousels emerged in the United States: Coney Island style – characterized by elaborate, and sometimes faux-jeweled, saddles – with Charles I. D. Looff; Philadelphia style – known for more realistically painted saddles – with Dentzel and the Philadelphia Toboggan Company; and Country Fair style – often with no saddles at all – with Allan Herschell and Edward Spillman of western New York, and Charles W. Parker of Kansas. The golden age of the carousel in America was the early 20th century, with large machines and elaborate animals, chariots, and decorations being built.
----------------------
The wild horse (Equus ferus) is a species of the genus Equus, which includes as subspecies the domesticated horse as well as the undomesticated Tarpan and Przewalski's Horse. The Tarpan became extinct in the 19th century, and Przewalski's Horse was saved from the brink of extinction and reintroduced successfully to the wild. The most likely ancestor of the domestic horse was the Tarpan, which roamed the steppes of Eurasia at the time of domestication. Since the extinction of the Tarpan, attempts have been made to reconstruct the phenotype of the Tarpan, resulting in horse breeds such as the Konik and Heck horse. However, the genetic makeup and foundation bloodstock of those breeds is substantially derived from domesticated horses, and therefore these breeds possess domesticated traits.
The term "wild horse" is also used colloquially to refer to free roaming herds of feral horses such as the Mustang in the United States, the Brumby in Australia, and many others. These feral horses are untamed members of the domestic horse subspecies (Equus ferus caballus), and should not be confused with the two truly "wild" horse subspecies.
Przewalski's Horse
Przewalski's Horse occupied the eastern Eurasian steppes, perhaps from the Urals to Mongolia, although the ancient border between Tarpan and Przewalski distributions has not been clearly defined. Przewalski's Horse was limited to Dzungaria and western Mongolia in the same period, became extinct in the wild during the 1960s, but was re-introduced in the late 1980s to two preserves in Mongolia. Although researchers such as Marija Gimbutas theorized that the horses of the Chalcolithic period were Przewalski's, more recent genetic studies indicate that Przewalski's Horse is not an ancestor to modern domesticated horses.
Przewalski's Horse is still found today, though it is an endangered species and for a time was considered extinct in the wild. Roughly 1500 Przewalski's Horses are protected in zoos around the world. A small breeding population has been reintroduced in Mongolia. As of 2005, a cooperative venture between the Zoological Society of London and Mongolian Scientists has resulted in a free-ranging population of 248 animals in the wild.
Przewalski's Horse has some biological differences from the domestic horse; unlike domesticated horses and the Tarpan, which both have 64 chromosomes, Przewalski's Horse has 66 chromosomes due to a Robertsonian translocation. However, the offspring of Przewalski and domestic horses are fertile, possessing 65 chromosomes.
Horses that live in an untamed state but have ancestors who have been domesticated are not truly "wild" horses; they are feral horses. For example, when Europeans reintroduced the horse to the Americas beginning in the late 15th century, some horses escaped and formed feral herds, the best-known being the Mustang. The Australian equivalent to the Mustang is the Brumby, descended from horses strayed or let loose in Australia by English settlers. There are isolated populations of feral horses in a number of places, including Portugal, Scotland, and a number of barrier islands along the Atlantic coast of North America from Sable Island off Nova Scotia, to the Shackleford Banks of North Carolina. While these are often referred to as "wild" horses, they are not truly "wild" in the biological sense of having no domesticated ancestors.
Carousels are commonly populated with horses, each horse weighing roughly 100 lbs (45 kg), but may include a variety of mounts, for example pigs, zebras, tigers, or mythological creatures such as dragons or unicorns. Sometimes, chair-like or bench-like seats are used, and occasionally mounts can be shaped like aeroplanes or cars.
The "roundabouts" or "merry-go-rounds" installed in playgrounds are usually somewhat different devices: simple, child-powered rotating platforms with bars or handles to which children can cling while riding.
The modern carousel emerged from early jousting traditions in Europe and the Middle East. Knights would gallop in a circle while tossing balls from one to another; an activity that required great skill and horsemanship.[citation needed] This game was introduced to Europe at the time of the Crusades from earlier Byzantine and Arab traditions. The word carousel originated from the Italian Carosella and Spanish Carosella ("little battle", used by crusaders to describe a combat preparation exercise and game played by Turkish and Arabian horsemen in the 12th century). This early device was essentially a cavalry training mechanism; it prepared and strengthened the riders for actual combat as they wielded their swords at the mock enemies.
By the 17th century, the balls had been dispensed with, and instead, the riders had to spear small rings that were hanging from poles overhead and rip them off. Cavalry spectacles that replaced medieval jousting, such as the ring-tilt, were popular in Italy and France. The game began to be played by commoners, and carousels soon sprung up at fairgrounds across Europe. At the Place du Carrousel in Paris, an early make believe carousel was set up with wooden horses for the children.
By the early 18th century carousels were being built and operated at various fairs and gatherings in central Europe and England. Animals and mechanisms would be crafted during the winter months and the family and workers would go touring in their wagon train through the region, operating their large menagerie carousel at various venues. Makers included Heyn in Germany and Bayol in France. These early carousels had no platforms; the animals would hang from chains and fly out from the centrifugal force of the spinning mechanism. They were often powered by animals walking in a circle or people pulling a rope or cranking.
By 1803 John Joseph Merlin had a carousel in his Mechanical Museum in London, where gentry and nobility liked to gather on winter evenings. The horses "floated free over a pole". It was connected to a "big musical instrument that played a fully orchestrated concerto" and from the first note, the carousel would start turning while each horse would make a galloping movement with a visitor riding on its back. Merlin did not patent his inventions and engineers were allowed to come to create their own models of his creations.
Direction of rotation
Viewed from above, in the United Kingdom, merry-go-rounds, called ‘gallopers’ by the showmen community when populated by model horses, usually turn clockwise (from the outside, animals face to the left), while in North America and Mainland Europe, carousels typically go counterclockwise (animals face to the right).
Modern carousels
By the mid-19th century the platform carousel was developed; the animals and chariots were fixed to a circular floor that would suspend from a centre pole and rotate around. These carousels were called dobbies and were operated manually by the operator or by ponies.
In mid-19th-century England, the carousel became a popular fixture at fairs. The first steam-powered mechanical roundabout, invented by Thomas Bradshaw, appeared at the Aylsham Fair in about 1861. It was described by a Halifax Courier journalist as "a roundabout of huge proportions, driven by a steam engine which whirled around with such impetuousity, that the wonder is the daring riders are not shot off like cannon- ball, and driven half into the middle of next month."
Soon afterwards, English engineer Frederick Savage began to branch out of agricultural machinery production into the construction of fairground machines, swiftly becoming the chief innovator in the field. Savage's fairground machinery was exported all over the world. By 1870, he was manufacturing carousels with Velocipedes (an early type of bicycle) and he soon began experimenting with other possibilities, including a roundabout with boats that would pitch and roll on cranks with a circular motion, a ride he called 'Sea-on-Land'.
Savage applied a similar innovation to the more traditional mount of the horse; he installed gears and offset cranks on the platform carousels, thus giving the animals their well-known up-and-down motion as they travelled around the center pole – the galloping horse. The platform served as a position guide for the bottom of the pole and as a place for people to walk or other stationary animals or chariots to be placed. He called this ride the 'Platform Gallopers' . He also developed the 'platform-slide' which allowed the mounts to swing out concentrically as the carousel built up speed. Fairground organs (band organs) were often present (if not built in) when these machines operated. Eventually electric motors were installed and electric lights added, giving the carousel its classic look.
These mechanical innovations came at a crucial time, when increased prosperity meant that more people had time for leisure and spare money to spend on entertainment. It was in this historical context that the modern fairground ride was born, with Savage supplying this new market demand. In his 1902 Catalogue for Roundabouts he claimed to have "... patented and placed upon the market all the principal novelties that have delighted the many thousands of pleasure seekers at home and abroad."
In the United States, the carousel industry was developed by immigrants, notably Gustav Dentzel of Germany and Charles W.F. Dare from England, from the late 19th century. Several centers and styles for the construction of carousels emerged in the United States: Coney Island style – characterized by elaborate, and sometimes faux-jeweled, saddles – with Charles I. D. Looff; Philadelphia style – known for more realistically painted saddles – with Dentzel and the Philadelphia Toboggan Company; and Country Fair style – often with no saddles at all – with Allan Herschell and Edward Spillman of western New York, and Charles W. Parker of Kansas. The golden age of the carousel in America was the early 20th century, with large machines and elaborate animals, chariots, and decorations being built.
----------------------
The wild horse (Equus ferus) is a species of the genus Equus, which includes as subspecies the domesticated horse as well as the undomesticated Tarpan and Przewalski's Horse. The Tarpan became extinct in the 19th century, and Przewalski's Horse was saved from the brink of extinction and reintroduced successfully to the wild. The most likely ancestor of the domestic horse was the Tarpan, which roamed the steppes of Eurasia at the time of domestication. Since the extinction of the Tarpan, attempts have been made to reconstruct the phenotype of the Tarpan, resulting in horse breeds such as the Konik and Heck horse. However, the genetic makeup and foundation bloodstock of those breeds is substantially derived from domesticated horses, and therefore these breeds possess domesticated traits.
The term "wild horse" is also used colloquially to refer to free roaming herds of feral horses such as the Mustang in the United States, the Brumby in Australia, and many others. These feral horses are untamed members of the domestic horse subspecies (Equus ferus caballus), and should not be confused with the two truly "wild" horse subspecies.
Przewalski's Horse
Przewalski's Horse occupied the eastern Eurasian steppes, perhaps from the Urals to Mongolia, although the ancient border between Tarpan and Przewalski distributions has not been clearly defined. Przewalski's Horse was limited to Dzungaria and western Mongolia in the same period, became extinct in the wild during the 1960s, but was re-introduced in the late 1980s to two preserves in Mongolia. Although researchers such as Marija Gimbutas theorized that the horses of the Chalcolithic period were Przewalski's, more recent genetic studies indicate that Przewalski's Horse is not an ancestor to modern domesticated horses.
Przewalski's Horse is still found today, though it is an endangered species and for a time was considered extinct in the wild. Roughly 1500 Przewalski's Horses are protected in zoos around the world. A small breeding population has been reintroduced in Mongolia. As of 2005, a cooperative venture between the Zoological Society of London and Mongolian Scientists has resulted in a free-ranging population of 248 animals in the wild.
Przewalski's Horse has some biological differences from the domestic horse; unlike domesticated horses and the Tarpan, which both have 64 chromosomes, Przewalski's Horse has 66 chromosomes due to a Robertsonian translocation. However, the offspring of Przewalski and domestic horses are fertile, possessing 65 chromosomes.
Horses that live in an untamed state but have ancestors who have been domesticated are not truly "wild" horses; they are feral horses. For example, when Europeans reintroduced the horse to the Americas beginning in the late 15th century, some horses escaped and formed feral herds, the best-known being the Mustang. The Australian equivalent to the Mustang is the Brumby, descended from horses strayed or let loose in Australia by English settlers. There are isolated populations of feral horses in a number of places, including Portugal, Scotland, and a number of barrier islands along the Atlantic coast of North America from Sable Island off Nova Scotia, to the Shackleford Banks of North Carolina. While these are often referred to as "wild" horses, they are not truly "wild" in the biological sense of having no domesticated ancestors.
(THIS PICTURE FOR DISPLAY ONLY)
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