The grand and distinguishing merit of the Panorama at the Colosseum is, however, of a higher order than we have yet pointed out to the reader. It has the unusual interest of picturesque effect with the most scrupulous accuracy; and, in illustration of the latter excellence, so plain are the principal streets in the view, that thousands of visitors will be able to identify their own dwellings. We have termed this an unusual effect, because we are accustomed to view panoramas as fine productions of art, with fascinating and novel contrasts, and altogether as beautiful pictures; but pleasing as may be their effect on the spectator, it must fall very short of the intense interest created by the topographical or map-like accuracy of Mr. Hornor's picture, which is correct even to the most minute point of detail. Thousands of spectators will therefore become rivetted by some particular objects, for every Londoner can name a score of sites which are endeared to him by some grateful recollections and associations of his life; whilst our country friends will be lost in admiration at the immense knot of dwellings, till they contrive to pick their road back to their inn or temporary abode in this queen of cities. In order to court the rigorous inspection of the most critical visiters, engraved sections of the various parts of the picture, numbered and described, will be placed in the compartments to which the panorama corresponds; and for still further gratification, glasses will he placed in the gallery, by which houses at the distance of ten or twelve miles from the city may easily be discerned. All this amounts to microscopic painting, or the most elaborate mosaic-work of art.

The effect of the near houses, or those in the immediate vicinity of St. Paul's, is very striking; and the perspective and effect of light and shade of the campanile towers in front of the cathedral are admirably managed. In short, nothing can exceed the fine contrast of the bold and broad buildings in the fore-ground with the work of the middle, and the minuteness of the back-ground:—

Now to the sister hills that skirt her plain, To lofty Harrow now, and now to where Majestic Windsor lifts his princely brow, In lovely contrast to this glorious view, Calmly magnificent. Heavens! what a goodly prospect spreads around, Of hills, and dales, and woods, and lawns, and spires, —–till all The stretching landscape into mist decays.

It seems scarcely possible for painting to achieve anything nearer to reality than has been effected in the union of the projecting portions and the flat surface of the picture—an effect which will be hailed with enthusiasm by the spectator. This part is the work of Mr. Paris, "of whose talents and valuable assistance in the execution of the painting," says a writer in the Times, "the proprietor speaks in terms of generous enthusiasm, which are well deserved, and equally honourable to both parties." Another critical writer, in the Weekly Review, likewise, pays a deserved tribute to the genius of Mr. Paris, in his share of the painting. He says, "The spectator who shall view this magnificent Panorama, without being previously informed of the difficulties with which the able and indefatigable artist, Mr. E.T. Paris, had to contend, however he may be struck with the tout ensemble, will hardly be able to appreciate the merit of the work. In the first place, as no one individual could accomplish such an undertaking in a sufficiently short period, many artists were necessarily employed; each of these had his own peculiar style, and taste, and notions, which of course he would not depart from; when each of the assistant artists, therefore, had finished his part, it was necessary for Mr. Paris to go himself over the whole, retouch everything, and reduce the various parts into harmony with each other. This he has effected in the most admirable manner, so that, at present the productions of numerous dissimilar pencils appear like the creation of one man. Another, and perhaps still greater difficulty, was to preserve the true perspective from so elevated and novel a point of view, and on curved canvass; for, by the closing of the dome, that part of the picture upon which the greatest distance was to be represented, is in reality placed nearest to the spectator. We must observe, however, that these difficulties have all been surmounted, and that the illusion is most complete."

Our limits advise us to quit the principal building, or that appropriated to the panoramic view, especially as we cannot convey to the reader an indistinct notion of the curious stair-work, machinery, and carpentry of the ascents, &c. We were induced to ascend to the exterior, but the mid-day smoke of the town, and the heavy fog of the day, spoiled our view. Had it not been so, the numerous buildings below, with the gardens, &c. would have reminded us that much yet remained to be seen. We hastened down the staircase, as quickly as the loop-hole light would allow, (for this part is to be lit with gas,) and returned to the front court by the large door at which we entered. In the entrance-hall are two aloes in tubs, one of them of noble size, and we could not help contrasting this single triumph of Nature with the little world of art we had just been exploring; and our train of reflection was unbroken on our entering by the left-hand lodge-door, a range of arched conservatories, in the centre of one of which is a Camellia Japonica, which produces thirty varieties of flower, and is, perhaps, the most magnificent specimen in England. Already here are several rare and beautiful plants—a large proportion of exotics, and some of the most curious plants of this country's growth. In the centre of one of the chambers is a circular tank of water, surrounded by small jets, which are to raise their streams so as to form a round case of water, within which are to be aquatic plants, &c. At the end of this room aviaries are in preparation.

Hence we ascended into a beautiful reading-room, with French windows and rusticated Gothic verandas. The artistes were here busy in hanging the walls, &c. with green damask moreen. The next room in the suite will be a library of beautiful proportions; and beyond this will be another room equally splendid, besides numerous other smaller apartments, in all numbering thirty. The object of this part of the building is to afford to subscribers all the advantages of a club and a reading-room, combined with the novel and luxurious conveniences of the establishment. We now come to what appears to us the bijou of the whole. A passage leads from the saloon to a suite of small chambers, representing a Swiss cottage. One of these rooms is finished. It is wainscotted with coloured (knotted) wood, and carved in imitation of the fanciful interior of the dwellings of the Swiss mountaineers. The immense projecting chimney, its capacious corners, and the stupendous fire-dogs, are truly characteristic charms of cottage life; and the illusion is not a little enhanced by the prospect from the windows, consisting of terrific rocks and caverns,3 among which a cascade is to fall from an immense height into a lake, which is to spread immediately beneath the windows. The water is not yet admitted here; but from some successful specimens of this branch of art, which we have seen, we are induced to think the Swiss cottage and its scenery will be very attractive. The exterior of the dwelling, with its broad eaves, &c. is beautifully picturesque; and the interior, supplied with a suite of rustic furniture, is even sufficiently unique for the recherché taste of Mr. Hope.

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The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 352, January 17, 1829

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