File:Old and new London - a narrative of its history, its people, and its places (1873) (14591899148).jpg

Identifier: oldnewlondonnarr05thor (find matches)
Title: Old and new London : a narrative of its history, its people, and its places
Year: 1873 (1870s)
Authors: Thornbury, Walter, 1828-1876
Subjects:
Publisher: London : Cassell, Petter, & Galpin
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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inside of this was a chamber, capable of containing ten or twelve persons at a time, called the Ascending Room. This was hoisted by invisible machinery • Sec Vol. I.. p. J55. 130 miles. Except the dome of St. Pauls, there was (at that time at least) no painted surface in Great Britain to compare with it in magnitude.. . . It is inferred that Sir James Thornhill, in painting the interior of the dome of St. Pauls, used the scaffolding which had been employed for its construction, and his designs comprised twelve several compartments, each distinct in itself. Not so this panorama of London, which, as one subject, required unity, harmony, and accuracy of linear and aerial perspective. The perpendicular canvas and the concave ceiling of stucco were not to be seen by or even known to the spectator, on whoma veritable illusion was intended to be practised ;and the combination of a vertical and horizontal surface, though used, was not to be detected. After Regents Park.) THE GREAT PANORAMA OF LONDON. 271
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THE COLOSSEUM IN 1827. (Front to the Regents Park.) THE PANORAMA OF LONDON, 272 OLD AND NEW LONDON. (Regents Park. the sketches were completed upon 2,000 sheets of large paper, and the building finished, no person could be found to paint the picture in a sufficiently short period, and many artists were consequently employed upon it. At last, by the use of plat-forms slung by ropes, with baskets for conveying the colours, temporary bridges, and other ingenious contrivances, the painting was executed, but in the particular style, taste, and notions of each artist; to reconcile which, and to bring them to form one vast whole, was a novel, intricate, and delicate task which several persons tried, but without effect. At length, Mr. E. T. Parris, possessing an accurate knowledge of mechanics and perspective and practical execution in painting, combined with great enthusiasm and perseverance, accomplished the labour, principally with his own hands, standing in a wooden box or cradle suspended from cross

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