THE MIRROR
OF
LITERATURE, AMUSEMENT, AND INSTRUCTION.
| VOL. XIII, NO. 356.] | SATURDAY, FEBRUARY 14, 1829. | [PRICE 2d. |
Interior of the Colosseum.
References to the Engraving.
A. Column or Tower in the centre of the building, for supporting theAscending Room, &c.
B. Entrance to the Ascending-Room.
C. Saloon for the reception of works of art.
D. Passage lending to the Saloon, Galleries, and Ascending-Room.
E. F. Two separate Spiral Flights of Steps, leading to the Galleries, &c.
G. H. I. Galleries from which the Picture is to be viewed.
K. Refreshment-Room.
L. Rooms for Music or Bells.
M. The Old Ball from St. Paul's Cathedral.
N. Stairs leading to the outside of the Building. a. b.Sky-lights. c. Plaster Dome, on which the sky is painted,d. Canvass on which the part of the picture up to the horizon ispainted. e. Gallery, suspended by ropes, used for painting thedistance, and uniting the plaster and the canvas. f. TemporaryBridge from the Gallery G to the Gallery e. from the end of whichthe echo of the building might be heard to the greatest advantage.g. One of Fifteen Triangular Platforms, used for painting thesky. h. Platforms fixed on the ropes of the Gallery e,used for finishing and clouding the sky. k. Different methodsfor getting at the lower parts of the canvas. l. Baskets forconveying colours. &c. to the artists, m. Cross or Shears, formedof two poles, from which a cradle or box is suspended, for finishing thepicture after the removal of all the scaffolding and ropes.
Mr. Hornor, in his colossal undertaking, has "devised a mean" to draw usout of the way; and a successful one it has already proved. As a returnfor [pg 98]the interest which his enterprise has excited, we are, however,induced to present its details to our readers, as perfect as the limitsof the MIRROR will allow; and for this purpose we have been favoured byMr. Parris with the drawing for the annexed cut.
In No. 352, we gave a popular description of the interior of theColosseum; but the reader's attention was therein directed to thesplendid effect of the panorama or picture, whilst the means by whichthe painting was executed have been reserved for our present Number.This we have endeavoured to illustrate by the annexed engraving; andthe explanation will be rendered still clearer by reference to No. 352,wherein we have given an outline of the difficulties with which theprincipal artist, Mr. Parris, had to contend in painting the panorama.We, however, omitted to state an obstacle equally formidable with thereconciliation of the styles of the several artists engaged toassist Mr. Parris. This additional source of perplexity was the greatchange, almost amounting to the vitrification of enamel colours, whichoccurred in the hues of the various pigments, according to the point ofview, and the immense distance of the canvas f