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 is painted. _e._ Gallery,
suspended by ropes, used for painting the distance, and uniting the
plaster and the canvas. _f._ Temporary Bridge from the Gallery G to
the Gallery _e._ from the end of which the echo of the building might
be heard to the greatest advantage. _g._ One of Fifteen Triangular
Platforms, used for painting the sky. _h._ Platforms fixed on the
ropes of the Gallery _e_, used for finishing and clouding the sky.
_k._ Different methods for getting at the lower parts of the canvas.
_l._ Baskets for conveying colours. &c. to the artists, _m._ Cross or
Shears, formed of two poles, from which a cradle or box is suspended,
for finishing the picture after the removal of all the scaffolding
and ropes.
Mr. Hornor, in his colossal undertaking, has "devised a mean" to draw us
out of the way; and a successful one it has already proved. As a return
for the interest which his enterprise has excited, we are, however,
induced to present its details to our readers, as perfect as the limits
of the MIRROR will allow; and for this purpose we have been favoured by
Mr. Parris with the drawing for the annexed cut.
In No. 352, we gave a popular description of the interior of the
Colosseum; but the reader's attention was therein directed to the
splendid effect of the panorama or picture, whilst the means by which
the painting was executed have been reserved for our present Number.
This we have endeavoured to illustrate by the annexed engraving; and
the explanation will be rendered still clearer by reference to No. 352,
wherein we have given an outline of the difficulties with which the
principal artist, Mr. Parris, had to contend in painting the panorama.
We, however, omitted to state an obstacle equally formidable with the
_reconciliation_ of the styles of the several artists engaged to
assist Mr. Parris. This additional source of perplexity was the great
change, almost amounting to the vitrification of enamel colours, which
occurred in the hues of the various pigments, according to the point of
view, and the immense distance of the canvas from the spectator.
Besides furnishing the reader with the construction of the apartments,
galleries, and ascents of the interior, the engraving presents some idea
of the scaffoldings, bridges, platforms, and other mechanical
contrivances requisite for the execution of the picture.
The spiral staircase, it will be seen, leads to the lower gallery for
viewing the picture. Unconnected with the intermediate gallery, there is
a communication from the lowest gallery to the highest, and thence to
the refreshment-rooms and exterior of the dome. The ascent to the second
price gallery is by a spiral staircase under those already mentioned.
The column, or central erection, containing these staircases and
the ascending-room, is of timber, with twelve principal uprights
seventy-three feet high, one foot square, set upon a circular curb of
brickwork, hooped with iron, and further secured by bracing, and by
two other circular curbs, from the upper one of which rises a cone of
timbers thirty-four feet high, supporting the refreshment-rooms, the
identical ball, and model of the cross, of St. Paul's, Mr. Hornor's
sketching cabin, staircase to the exterior, &c. Without the circle of
timbers already described, is another of twenty-four upright timbers;
and between these two circles the staircases wind. The architectural
fronts of the galleries form frame-works, through which the spectator
may enjoy various parts of the panorama, as in so many distinct
pictures.
The cut and appended references will explain the devices for painting
better than a more extended description; for mere words do not
facilitate the understanding of inventions which in themselves are
beautiful and simple. To heighten the effect, our artist has, however,
introduced light sketchy outlines of the campanile towers of St. Paul's,
the city, and the distant country. Mr. Parris's task must have been one
of extreme peril, and notwithstanding his ingenious contrivances of
galleries, bridges, platforms, &c. he fell twice from a considerable
height; but in neither case was he seriously hurt. His progress reminds
us of other grand flights to fame, but his success has been triumphant,
and alike honourable to his genius and enterprise. In short, looking
at the present advanced state of the Colosseum, Mr. Hornor and his
indefatigable coadjutors may almost exclaim in the words of Dryden,
"Our toils, my friend, are crown'd with sure success:
The greater part perform'd, achieve the less."
* * * * *