Theme Park Landscapes: Antecedents and Variations

ed their forms and, working with darkness, subsumed them into a glittering kinetic whole (Fig. 7). 2. A Turkish fair: Album Amicorum, watercolor, 17th century (courtesy of the Victoria and Albert Picture Library, Victoria and Albert Museum, London) 11 Regarding slides and ramps, see Cartmell, Incredible Scream Machine, 19; on St. Bartholomew fairs, see Frederick Fried, Built to Amuse: Views from America’s Past (Washington, D.C.: Preservation Press, 1990); on the Prater pleasure grounds, see Adams, American Amusement Park Industry, 7. 3–6. Views of rides in early 19th-century Paris pleasure gardens (courtesy of the Musée Carnavalet, Paris © Phototèque des Musées de la Ville de Paris) 3. (top left) The Tower of Aeolus, Tivoli Gardens (Tour d’Eole promenade aerienne à Tivoli), lithograph by C. Motte, after 1800 4. (bottom left) “Le Supreme Bon Ton, no. 29,” The Russian Mountains of Belleville (Les Montagnes russes de Belleville), anonymous engraving, 1817 5. (above) Aerial Walks (Promenade Aeriennes), Beaujon Gardens, Paris, engraving by Lerouge, 1817 6. (below) Niagara Falls (Saut du Niagara), Ruggieri Gardens, Paris, early 19th century, anonymous print