burned in July, 1907, with a loss
estimated at $1,404,000. Luna Park was cut down in a series of fires
in 1944, 1947, and 1949. The most spectacular blaze of all was the
five million dollar conflagration
which leveled
Dreamland Park and
its environs in the
dawn of the Memorial
Day weekend, 1911.
The Feltman merry-go-round is itself a
relic of fire. There may have
been a fire in the nintites, since there is record of a
second Looff carousel sold to Feltman during that period. Then
sometime around 1900, perhaps in the West Brighton fire of 1899,
most of the outer row of horses was burned. Many
of the smaller, inside horses
were salvaged, but only four of the proud, electrified
showpieces survived. Feltman sought out William F. Mangels to build
a new ride.
Mangels had established a reputation as an inventive machinist shortly after emigrating from
Germany
in 1883 at the age of sixteen. His first
experience with the fledgling amusement industry was in 1888
when he operated the
eight-horsepower steam engine
of Dentzel's carousel at the
Richmond (Va.) Exposition. Dentzel
had him beating the band organ drum to draw a crowd whenever he
could leave the boiler
unattended.
In Coney Island Mangels worked for James
J. McCullough, inventor of moving
targets for mechanical
shooting galleries. (McCullough and his wife, the former
Kathryn Tilyou, produced a generation of
Coney Island
entrepreneurs, including Coney's reigning
historian, Edo McCullough). Mangels branched
out with his own line of shooting
galleries and amusement
rides. His first patent was the Razzle-Dazzle in 1891. When
William Johnson brought one of Frederick
Savage's roundabouts to
Coney Island, Mangels
was quick to recognize the
potential of its jumping horse
suspension. (The Johnson import was also unique at the time
for its clockwise rotation. It enjoyed
continuing popularity until it perished in the Dreamland fire.)
Working with Johnson in 1898 Mangels was the first to adapt the
Savage overhead transmission
system to American manufacture. He established patents for
his Galloping Horse Carousells which kept his competitors at a
disadvantage for years. Later, Mangels was to invent the Tickler, the Whip, and a
third-rail electric propulsion system for roller coasters and scenic
railways, including the Feltman
Brothers' Ziz, Mile a Minute. His most lasting
accomplishment may be his careful research in |
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writing the
definitive history of The Outdoor Amusement
Industry,
published in 1952 when Mangels was
85. William Mangels lived to the age of 92, leaving behind a nation
of grateful and enlightened showmen.
When Feltman commissioned Mangels to rebuild his carousel at the
dawn of the century, he obtained
the services of a master woodcarver as well. Marcus
Charles Illions, who is now
remembered as the greatest of all the carousel carvers, was
working with Mangels at the time. Illions was born in Russia, where
he was apprenticed to a woodcarver as a young child. He ran away to
Germany when he was only eight
and eventually found his way to
England, where he
carved roundabout figures and show carvings
for Frederick Savage. When a consignment of wagons was not completed
in time for its voyage to America, Frank C. Bostock induced Illions
to accompany him to finish the job. The Bostock family
had operated a traveling
menagerie in
England since
1805, but this was to be the first venture to the
New World with their exotic animals. The
sailing ship bearing the cargo of curiosities set out for Boston and
a most inauspicious landing. Bostock and the seventeen year old
Illions were met by the great blizzard of 1888, a record storm that
paralysed the entire Eastern
seaboard. The motley caravan of half-carved wagons,
half-frozen beasts and half-hearted men wound its way south to Coney
Island and the promise of a brighter future.
Bostock's fortunes
rose quickly with successful exhibitions and shrewd business
dealing. In 1894 he brought to
Coney Island the model for the first American traveling carnival, a
collection of shows and rides based on the concept of the English
fair. The assemblage included a gigantic portable switchback,
a track-type gondola carousel built by Savage.
Bostock worked with Mangels and
other manufacturers to apply the platform railway concept to
less ponderous, more easily
portable devices for traveling
shows. Bostock later imported the
novel, Savage-built Chanticleer roundabout which graced the
lawn of George Tilyou's Steeplechase Park. The ride was
mounted entirely with two-seated
roosters and carried the labels "Four-abreast Bantams," "Galloping Chickens" and
"Prodigious Poultry," among others. Bostock preferred to call them
"those bloody cocks," a term born of frustration when the ship
carrying his "Prize Cockerells" went to the bottom of the |
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North Sea. The resurrection of the wooden
birds from their watery grave was a tribute to Bostock's
resourcefulness and
determination.
Bostock's flair with animals brought him
widespread recognition in
America. By 1900 he occupied the
cover of the first weekly issue of The Billboard, decked out
with a chestful of medals and billed as "The Animal King." In 1904
he installed his wild animal show
in
Dreamland Park as a permanent feature, starring the one-armed
wonder of the great steel cage,
Captain Jack Bonavita and his twenty-seven
jungle cats. Bostock had the
incredible serendipity to
sell his entire show, buildings, beasts, and Bonavita, in the
winter of 1910, just a few months before the
disastrous fire.
Illions' fortunes
were less meteoric than Bostock's
but his artistic accomplishments will gain for him a more lasting
recognition. He formed a short-lived partnership with Theodore
Hunger, a blacksmith who forged the machinery for his first
carousels. In his shop on Dean Street during the 1890's Illions
provided carvings on a free-lance or contract basis to other
amusement manufacturers. He may have worked with Charles Looff,
since one of his early horses somehow found its way into the company
of the Looff chargers at
Feltman's, surviving the fires to join its descendants on the
Mangels machine. By about 1900 Illions had joined forces with the
enterprising Mangels to produce carousels of unprecedented quality
and beauty.
The combination of Feltman's promotion, Mangel's
ingenuity, and Illions' artistry was fated to produce the most
famous and most venerated merry-go-round
ever created in
America. Every thing
about the new Feltman ride was
lavish, from the sumptuous rim to the animated organ. The horses
demonstrated Illions' carving at its greatest, with stately,
powerful poses and rich,
bejeweled trappings resplendent with
carved angels, eagles, lions,
sphinxes, shields, drapery, buckles, tassels, and fringe. The
trappings gleamed with gold leaf and intense colors. The effect was
so dazzling that even the
plainer Looff horses, redecorated
after the fire and placed within two outer rows of
new carvings, seemed to radiate
an opulence that concealed their humbler origin. Another
hidden vestige of the earlier machine was the provision of access
panels and translucent jewels in Illions' stationary
horses, perhaps in anticipation
of more efficient electric lamps. Whatever the original
plan, the interiors
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