The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 356, February 14, 1829

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Various. The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 356, February 14, 1829

Interior of the Colosseum

DORCHESTER

FIRE AT YORK CATHEDRAL

THE VINE

THE SKETCH-BOOK

MEMORABLE DAYS

VALENTINE'S DAY

THE NATURALIST

AMERICAN SONG BIRDS

THE JOHN DORY

THE SELECTOR, AND LITERARY NOTICES OF NEW WORKS

MR. CANNING

MR. MOORE, THE POET

RETROSPECTIVE GLEANINGS

REGAL TABLET

THE GATHERER

TIMELY REPARTEE

MARSHAL VILLARS

LONG STORIES

GENUINE GAELIC PROCLAMATION

TO LOUISA

A DEAD SUBJECT

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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.

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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,

We will now bring this article to a close, by quoting the words of Æneas Sylvius, afterwards Pope Pius II., in praise of York Cathedral. He says, "It is famous all over the world for its magnificence and workmanship, but especially for a fine lightsome chapel, with shining walls, and small, thin-waisted pillars, quite round."4

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