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

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

PRINCE RUPERT'S PALACE

SOME ACCOUNT OF THE COLOSSEUM, IN THE REGENT'S PARK

TO –

HIEROGLYPHICAL CHARACTERS

MANNERS & CUSTOMS OF ALL NATIONS

BULL-FIGHTS AT LIMA

THE ANECDOTE GALLERY

ANECDOTES OF CELEBRATED AUTHORS, FRENCH AND ITALIAN

THE SELECTOR; AND LITERARY NOTICES OF NEW WORKS

LEGENDS OF THE LAKES; OR, SAYINGS AND DOINGS AT KILLARNEY

SPIRIT OF DISCOVERY

Analogous Growth of Trees and Animals

Preservation of Eggs

SPIRIT OF THE PUBLIC JOURNALS

ARRIVALS AT A WATERING PLACE

WINE DRINKING

THE GATHERER

PUNS

TOASTS

THE MUG-HOUSE CLUB

JOY AND SORROW

INSCRIBED ON A CLOCK

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By the courtesy of Mr. Hornor, the proprietor, we have been favoured with a private view of the interior of this stupendous building; and, as it is our intention to illustrate the ensuing Number of the MIRROR with a view of the exterior, we shall for the present confine ourselves to such descriptive details as we have been enabled to collect in our recent visit. The interior is, however, in an unfinished state; the works are in actual progress, and the operations of the several artists continue uninterrupted by the access of visiters.

On entering the edifice by the large door in front, a staircase on the right leads to a passage, which communicates with a circular saloon hung with coloured drapery. This room, which, when finished, will be the largest of the kind in London, occupies the whole internal space, or the basement of the building, with the exception of the staircase leading to the summit, which rises like a large column from the centre. This circular saloon is intended for the exhibition of paintings and other productions of the fine arts; and it redounds highly to the credit of Mr. Hornor, that this exhibition is to be entirely free of charge to the artists. Such an introduction of their works to public notice cannot fail to prove mutually advantageous.

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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:—

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."

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