184:: the physical limit of the city, on the edge of the sea, becomes a frame that widens. An open visual space. The views of a city that follow the course of a river that traverses its architecture also provide a cinematic diversity of perspective and movement: a first view of the city from a distance, then it gets closer to your heart and, finally, it moves away. In the words of architectural historian Renzo Dubbini, as one moves with the flow of the current, "the view is regulated by a continuous flow of images that changes constantly. The observation point moves along a succession of the innumerable points of view that make up a geographical route ".
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121:. He then directed a large team of decorative and scene painters for eight months, to transfer the sketches onto the 19,500 m² (around 210,000 square feet) of canvas. Mounted on large cylinders supported by floats, and driven by hydraulic motors, the two canvases unrolled past the spectators over the course of the simulated journey. The upper edge of each canvas was hooked to small trolleys on a rail and reinforced with a thin steel band to prevent sagging. The cylinders themselves were concealed by curtains and props.
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forms by accumulation, such as painted panoramas, moving images or live performances. In order to add to the illusion of a sea voyage, fans created an ocean breeze, which whistled in the rigging. Lighting effects created day- and night-time, as well as flashes of lightning. There were also sounds of the ship's
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The realism of the attraction derives both from the theme they represent and from the technology that puts passengers in the middle of things and the simulated movement. There was even a
Mareorama that lasted half an hour and accommodated seven hundred spectators at a time, which offered a plausible
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The different scenarios reproduced reality in different ways. Whether relying on the optical illusions generated by the spectators, making references to other realistic genres such as the wax museum, or mechanically simulating the movement with a motion platform. Or whereas, juxtaposing multiple
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films. Seeing the success that it had generated, many entrepreneurs tried to incorporate moving images into their already existing amusements, because the recreational qualities of the moving images by themselves were not totally appreciable. So, instead of thinking that the images in movement
157:.It was a sensory journey both in time and space. Mareorama, in that way, turned the spectators into "passengers" of a ship, since it simulated the emotion of traveling by sea with moving images, by consisting of a 33 m (around 108 ft) long replica of a
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The two paintings were continuous images of the sea and shoreline from the trip. They were each 750 m (2,460.63 ft) long and 13 m (42.65 ft) tall. To create them, d'Alesi sketched the highlights from a year-long trip he took between
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Spectators stood on a platform which represented the deck of a steamship, complete with smoking funnels and steam whistles. In order to give it a rolling and pitching motion, it was mounted on a 5 m (16 ft) square iron frame on a
109:. The Mareorama simultaneously developed two panoramas in motion to the delight of the spectators, who placed themselves among them to create the illusion of being on the deck of a ship.
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element of the simulation. Overall, the whole experience was complemented by actors portraying deck hands, rushing about, "ostensibly to help anyone who may suffer from
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played by an orchestra that could not be seen while the images were represented in the
Mareorama. In this way, the sensorial direction of the panorama was multiplied.
133:, chains, and electric motors allowed the platform to pitch by up to 50 cm (20 inches) from horizontal, and to roll by up to 20 cm (8 inches).
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This is how a technological march towards an increasingly perfectly realistic reproduction was created and eventually, towards the invention of
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threatened the panoramas of that time, entrepreneurs initially incorporated films on their panoramic screens with great enthusiasm.
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62:. It is regarded as one of the last major developments in the technology of panoramas, shortly before the medium became obsolete.
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Exhibited at the Paris
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Exposition
Universelle de 1900 Rapport Général Administratif et technique Tome VII
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The sensation of approach and detachment is experienced in an effect of the
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Founder share of the Soc. du "Maréorama Hugo d'Alési", issued 25 march 1899
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itinerary to several ports. Among these we find a simulated voyage from
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Spectacular
Realities: Early Mass Culture in Fin-de-Siècle Paris
76:. For instance, in 1894, people could see moving photographs in
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A Meeting in the Royal Danish
Academy of Sciences and Letters
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Atlas of
Emotion: Journeys in Art, Architecture, and Film
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and, starting in
December 1895, they could see the first
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237:Hydraulic Fluid Power - A Historical Timeline
415:. London: Reaktion Books. pp. 74, 168.
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402:"The Mareorama at the Paris Exposition".
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173:Optical illusion and reproduced sensation
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43:was an entertainment attraction at the
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381:. University of California Press.
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337:(in French): 67–70. 9 June 1900.
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645:A Cotton Office in New Orleans
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301:(in French). pp. 220–223.
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406:: 198. 29 September 1900.
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651:Le Déjeuner sur l'herbe
297:Picard, Alfred (1903).
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47:. It was created by
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129:. A combination of
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582:Out into the World
354:. Reaktion Books.
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480:Trocadéro
335:La Nature
267:. Verso.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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