The Mirror of Literature, Amusement, and Instruction. Volume 13, No. 356, February 14, 1829. VariousЧитать онлайн книгу.
p>The Mirror of Literature, Amusement, and Instruction / Volume 13, No. 356, February 14, 1829
Interior of the Colosseum
References to the Engraving.
A. Column or Tower in the centre of the building, for supporting the Ascending 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 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."
DORCHESTER
St. Peter's church, Dorchester, is a handsome structure. There is a traditional rhyme about it which imports the founder of this church to have been Geoffery Van.
"Geoffery Van
With his wife Anne
And his maid Nan
Built this church."
But there was long since dug up in a garden here a large seal, with indisputable marks of antiquity, and this inscription:—"Sigillum Galfridi de Ann." It is therefore supposed, with some reason, that the founder's name was Ann.
A great number and variety of Roman coins have been dug up in this town, some of silver, others of copper, called by the common people, King Dorn's Pence; for they have a notion that one king Dorn was the founder of Dorchester.
FIRE AT YORK CATHEDRAL
Ut Rosa flos florum
Sic est domus ista domorum.
Such was the encomium bestowed on the venerable pile of York Minster by an old monkish writer; but, alas! what a change is there in the space of a few short hours; what a scene of desolation, what a lesson of the instability of sublunary things and the vanity of human grandeur! The glory of the city of York, of England, yea, almost of Europe, is now, through the fanaticism of a modern Erostratus, rendered comparatively a pile of ruin; but still
"Looks great in ruin, noble in decay."
This is the third time that this magnificent structure has been assailed by fire; twice it has been totally destroyed; but, like another phoenix, it has again risen from its ashes in a greater degree of splendour. A period of nearly seven hundred years has now elapsed since the last of these occurrences; and the present fabric has but now narrowly escaped sharing the fate of its predecessors.
The damage which the Minster has sustained is not, perhaps, of so great a magnitude as, from the first appearance of the fire, might have been anticipated. The destruction is principally confined to the choir, the roof of which is entirely consumed. The beautiful and elaborately carved screen,1 which divides the choir from the nave, and forms a support for the organ-loft, has escaped in a most wonderful manner, a few of the more projecting ornaments being merely detached. The organ, an instrument scarcely equalled in tone by any other in Europe, is totally destroyed. The oaken stalls,2 together with their richly carved canopies, have likewise perished. The altar table, which stood at the eastern end of the choir, on a raised pavement, ascended by a flight of fifteen steps, is likewise consumed, and the communion plate melted. The beautiful stone screen, which separated the Lady's Chapel from the altar, has
This elegant and curious piece of workmanship, the history of which is involved in uncertainty, bears the marks of an age subsequent to that of the choir, and was probably erected in the reign of Henry VI. It is in the most finished style of the florid Gothic, containing niches, canopies, pediments, and pinnacles, and decorated with the statues of all the sovereigns of England, from the Norman Conquest to Henry V. The statue of James I. stands in the niche which tradition assigns as that formerly occupied by the one of Henry VI.
These stalls or seats which were formed of oak, and of the most elaborate workmanship, occupied the side, and western end of the choir: they were surmounted by canopies, supported by slender pillars, rising from the arms, each being furnished with a movable misericordia.