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and scientific arrangement, and the in the gorgeous splendour of a scenes which he described were so beauteous day. completely illusive, that the space “ The clouds in every scene had appeared to recede for many miles, a natural motion, and they were and his horizon seemed as palpably painted in semi-transparent colours ; distant from the eye, as the extreme so that they not only received light termination of the view would ap- in front, but by a greater intensity pear in nature.
of the argand lamps, were suscep“The opening subject of the Eido- tible of being illuminated from bephusikon represented the view from hind. The linen on which they the summit of One-tree Hill in were painted was stretched on frames Greenwich Park, looking up the of twenty times the surface of the Thames to the Metropolis ; on one stage, which rose diagonally by a side, conspicuous upon its pictur- winding machine. De Loatheresque eminence, stood Flamstead- bourg, who excelled in representHouse; and below, on the right, ing the phenomena of clouds, may the grand mass of building, Green be said to have designed a series of wich Hospital, with its imposing effects on the same frame. Thus, cupolas, cut out of paste-board, the first gleam of morn led to the and painted with architectural succeeding increase of light; and correctness. The large groups the motion being oblique, the clouds of trees formed another division, first appeared from beneath the hobehind which were the towns of rizon, rose to a meridian, and floated Greenwich and Deptford, with the fast or slow according to their supshore on each side stretching to the posed density, or the power of the Metropolis, which was seen in its wind. vast extent from Chelsea to Poplar. “ To illuminate the interesting Behind were the hills of Highgate, scenes for this display of nature, Hampstead, and Harrow; and the the ingenious projector had con intermediate space was occupi- structed his lights to throw their ed by the flat stage, as the pool power in front of the scenes; and or port of London, crowded with
this plan might be tried with ad. shipping, each mass of which being vantage for spectacles, and parti. cut out in pasteboard, and receding cular effects at least, on the great in size by the perspective of their stages of our magnificent theatres. distance. The heathy appearance The lamps on De Loutherbourg's of the foreground was managed with stage were above the proscenium, cork, broken into the rugged and and hidden from the audience. picturesque forms of a sand-pit, Before them were slips of stained covered with minute mosses and glass; yellow, red, grey, purple, lichens, and producing a captivat- and blue ; by the shifting of which ing effect, amounting, indeed, to the painter could throw a tint upon reality.
the scenery, compatible with the “ This scene on the rising of the time of day which he represented, curtain was enveloped in that mys- and by a single slip, or their comterions light which is the precursor binations, could produce a magical of day-break, so true to nature, that effect; thus giving a general hue of the imagination of the spectator cheerfulness, sublimity, or awfulsniffed the sweet breath of morn. ness, subservient to the phenomena A faint light appeared along the of his scene. horizon; the scene assumed å va “ The inventive schemes of the pourish tint of grey; presently a artist to give motion and reality to gleam of saffron, changing to the the scenes I have promised to des. pure varieties which tinge the fleecycribe, will display the endless reclouds that pass away in morning sources of his original mind. The mist; the picture brightened by de effect of a Storm at Sea, with the grees, the sun'appeared, gilding the loss of the Halsewell Indiaman, was tops of the trees and the projections awful and astonishing; for the conof the lofty buildings, and burnish-flict of the raging elements he deing the vanes on the cupolas ; when scribed with an its characteristic the whole scene burst upon the eye horrors of 'wind, hail, thunder,
lightning, and the roaring of the zag flash, which was admirably waves, with such marvellous imita vivid and sudden, it burst in a tion of nature, that mariners have tremendous crash immediately over-declared, whilst viewing the scene,
head. that it amounted to reality.
“ The waves for his stage were “ Gainsborough was so wrapt in carved in soft wood from models delight with the Eidophusikon, that made in clay. They were coloured for a time he thought of nothing with great skill, and being highly else—he talked of nothing else, and varnished, reflected the lightning. passed bis evenings at that Exhibi Each turned on its own axis totion in : long succession. Gains wards the other, in a contrary direcborough, himself a great experi tion, throwing up the foam, now mentalist, could not fail to admire at one spot, now at another; and scenes wrought to such perfection diminishing in altitude as they re-by the aid of so many collateral in ceded in distance, were subdued by ventions. De Loutherbonrg's genius corresponding tints. Thus the perwas as prolific in imitations of nature turbed waters appeared to cover a to astonish the car as to charm the vast space. One machine of simple sight. He introduced a new art, construction turned the whole; and the picturesque of sound,
the motion was regulated according "I can never forget the awful to the increasing of the storm. impression that was excited by his “ The vessels, which were beauingenious contrivance to produce the tiful models, went over the waves effect of the firing of a signal of dis with a natural undulation, those tress, in his sea-storm. That appall nearest making their courses with a ing sound !, which he who had been
rate proportionate to their bulk, and exposed to the terrors of a raging those farther off moving with a tempest, could not listen to, even slower
pace. They were all correctly in this mimic scene, without being rigged, and carried only such sails reminded of the heart-sickening an as their situations would demand. swer which sympathetic danger had Those in the distance were coloured reluctantly poured forth from his in every part to preserve the aërial own loud gun-a hoarse sound to perspective of the scene. The illuthe howling wind, that proclaimed sion was so perfect, that the au
I too, holy Heaven ! need that dience were frequently heard to exsuccour I fain would lend."
claim, Hark! the signal of distress “ De Loutherbourg had tried came from the vessel labouring out many schemes to effect this; but there—now from that.” none were satisfactory to his nice
“ The rush of the waves was ear, until he caused a large skin to effected by a large octagonal box, be dressed into parchment, which made of pasteboard with internal was fastened by screws to a circular shelves, and charged with smaļl frame, forming a vast tambourine ; shells, peas, and light balls, which, to this was attached a compact as the machine wheeled upon its axis, sponge that went upon a whalebone were hurled in heaps with every turn; spring, which, struck with violence, accompanied by two machines, of a gave the effect of a near explosion; circular form, covered with tightly à more gentle blow, that of a far- strained silk, which pressed against off gun; and the reverberation of each other, and by a swift motion, the sponge produced a marvellous gave out a hollow whistling sound imitation of the echo from cloud to in perfect imitation of loud gusts of cloud, dying away in silence. wind. Large silken balls, passed
"The thunder was no less natural, hastily over the surface of the great and infinitely grand. A spacious tambourine, increased the awful sheet of thin copper was suspended din. by a chain, which, shaken by one of “ The rain and hajl were no less the lower corners, produced the dis- truly imitated. For the rain, a long tant rumbling, seemingly below the four-sided tude was charged with horizon; and as the clouds rolled small seed, which, according to the on, approached nearer and nearer, degree of its motion, from a horiincreasing peal by peal, until, fol. zontal to a vertical position, forced lowing rapidly the lightning's zig the atoms in a pattering stream to
the bottom, when it was turned to theatres ;-scenes which had astorepeat the operation. The hall was nished and terrified the audience ; expressed by a similar tube, on a but in this he astonished himself, for larger scale, with pasteboard shelves, he had not conceived the power of projecting on inclined planes, and
light that might be thrown upon a charged with larger beads; so that, scenic display, until he made the sliding from shelf to shelf, fast or experiment on his own circumscribed slow, as the tube was suddenly or stage. Here, in the fore-ground of gently raised, the imitation was per a vista, stretching an immeasurable fect.
· length between mountains, ignited “ One of the most interesting from their bases to their lofty sumscenes described a calm, with an mits with many-coloured flame, a Italian seaport; in which the rising chaotic mass rose in dark majesty, of the moon, with the serene cool, which gradually assumed form until ness which it imparted to the clouds, it stood, the interior of a vast temple the mountains, and the water, was of gorgeous architecture, bright as finely contrasted by a lofty light- molten brass, seemingly composed house, of picturesque architecture, of unconsuming, unquenchable fire. jutting out far into the sea upon a In this tremendous scene, the effect romantic promontory of broken of coloured glasses before the lamps rocks. The red glowing light of was fully displayed ; which, being its spacious lantern, tinged the rip- hidden from the audience, threw pling of the water on one part of its their whole influence upon the scene surface, whilst the moon shed its as it rapidly changed; now to a silvery lustre on another, in sweet sulphurous blue, then to a lurid red, repose. Shipping in motion added then again to a pale vivid light; to the interest of the scene; and a and ultimately to a mysterious comfleet in the offing, slowly proceeding bination of the glasses, such as a on its course, melted into air. The bright furnace exhibits in fusing clouds for this scene were admirably various metals. The sounds which painted; and as they rolled on, the accompanied the wondrous picture moon tinged their edges, or was ob struck the astonished ear of the speescured, at the will of the painter; tator as no less preternatural ; for for where he had loaded the colour to add a more awful character to to opaqueness, the transparent light the peals of thunder, and to the acof the orb could not penetrate. The companiments of all the hollow maclouds 'in front received sufficient chinery that hurled balls and stones illumination from the lamps, which with indescribable rumbling and were subdued by a bluish-grey glass; noise, an expert assistant swept his one of the slips before described. thumb over the surface of the tamThe moon was formed by a circular bourine, which produced a variety of aperture of an inch diameter, cut in groans, that struck the imagination
a tin box, that contained a powerful as issuing from infernal spirits. argand lamp, which, being placed “ Such was De Loutherbourg's at various distances from the back Eidophusikon. Would that it were of the scene, gave a brilliant or a in being now, when the love of the subdued splendour to the passing Fine Arts has spread in so vast a cloud, producing without any other degree! - that knowledge which aid the prismatic circle, with that could have appreciated its merits enchanting purity which is peculiar having increased a thousand fold to an Italian sky..
since the period when the greatest “ But the most impressive scene scene-painter in the world was inwhich formed the finale of the Ex- duced to dispose of his wondrous hibition, was that representing the little stage, because the age could region of the fallen angels, with Sa- not produce amateurs sufficient, after tan arraying his troops on the banks two seasons, to make an audience to of the Fiery Lake, and the rising of "pay for lighting his theatre." the Palace of Pandæmonium, as des. It may not be uninteresting to cribed by the pen of Milton. De add, that after De Loutherbourg Loutherbourg had already displayed had parted with his Eidophusikon, his graphie powers in scenes of fire it was es bibited in all the principal upon a great scale, at the public provincial towns in the kingdom,
and then brought back by its pro- above the amphitheatre. The cielprietor, in a sadly deteriorated con- ing, is circular, richly ornamented dition to London, where it was ulti- with transparent devices, and surmately consumed by an accidental rounded with a series of inedallions, fire, above twenty years ago. being the portraits of emninent pain
We have been thus minute in our ters and sculptors of “ the olden description of the Eidophusikon, time.” About every quarter of an both because the subject is in itself hour, a signal being, given by the amusing, and because we were de ringing of a bell, this apartment sirous, in common justice to a de- begins to turn on a pivot; the specceased man of genius, to shew that tators slowly revolve with it, and by the Diorama, however admirable, is this contrivance one picture is graby no means a novel idea ; but that, dually shut up, and the other as on the contrary, it is founded on gradually opened to view. At the only a part of that curious and com- expiration of the next quarter of an plicated invention which De Lou- hour, the movement is reversed, the therbourg carried into effect with second picture disappears, and the such extraordinary success. original one is again exposed. The
The Diorama hás, we understand, spectators are in no way, hurried; been for some time the wonder and but are permitted to remain during delight of Paris. Its projectors and as many of these alternations as proprietors conceiving, and, as we they please to witness. hope and have no doubt it will prove, We will endeavour to render the justly conceiving, that it would con difference between ordinary pictures *titute a very attractive Exhibition and the pictures of the Diorama as in London, have erected a magnifi- intelligible to our readers as we can. cent and spacious building for its An ordinary picture is, as they reception, on the north side of the know, painted on an opaque ground New Road, nearly opposite to Port- and lighted on its surface. The land-place. Although the exterior pictures of the Diorama are painted of the edifice is still unfinished, it is on transparent media, with colours said that no less a sum than 10,0001. partly transparent and partly opahas already been laid out upon it; que, and are lighted both on their an expenditure that could be justi- surface and behind; generally, or fied only by the extraordinary claims partially, according to the purpose to public patronage, both with re- contemplated. That the vividness gard to what it is, and much more of the light is infinitely greater
than with regard to what it may be ren even that prince of splendour, Remdered, which it unquestionably pos- brandt, could ever produce on an
opaque ground, lighted only on its The present Exhibition, which surface, will be obvious to any one was opened for a private view on who recollects the brilliance of the Saturday the 27th of September, and lights even in the most commonlyto the public on the succeeding Mon painted window-blind; and to this day, consists of two pictures ; the' is to be added what a window-blind dimensions of which, as well as the entirely wants, when looked at from deceptive circumstances under which the interior of a room, namely, the they are seen allow us to judge, are direct light thrown on the surface; probably about fifteen feet by twelve. and thrown at the Diorama in such The subject of one is the beautiful a manner, by a judicious concealand romantic Valley of Sarnen, in ment of its source, as to produce an the Canton of Underwald, in Swit- effect of chiaro-scuro, (aided by the zerland ; that of the other, the Cha- comparative gloom of the apartment pel of the Trinity, in the ancient in which the spectators sit) of which and venerable Cathedral of Canter. it it not too much to say, that it ab. bury. These pictures are viewed solutely rivals that of nature. In singly, from an apartment resem one of the pictures now exhibiting bling a small theatre, divided into that effect is permanent, in the other an amphitheatre or pit, and a small it is variable. tier of boxes, handsomely decorated, Such is the mechanism of the at an elevation of three or four feet thing. It is evident that the suo
cussful application of this mecha. sequence of the change of effect to dism must depend principally on which it is subjected, it will probathe talents and knowledge of the bly be the more popular production artists who are employed to paint of the two. Its first appearance is the pictures. We will speak sepa- that of a beautiful and picturesque rately of those under our considera- landscape, possessing every advantion.
tageous accompaniment of moun· And first of the Chapel of the tain, wood, and water, and seen Trinity, in Canterbury Cathedral. through the bland atmosphere of a This is really a very skilful work of soft, delicious, serepe summer's day, art. It is difficult even for an artist, While the eye is busily engaged in and it must be incomparably more tracing and admiring its various feadifficult for a general spectator, tures, the horizon becomes overcast; whose eye is uneducated, and who not with the gloom of night, but is wholly unable to detect those nice with that of an approaching storm. distinctions and differences which at The darkness gradually encreasing, once strike a professional man, to advances, first to the middle dis. believe that he is not looking at a tance, and then to the fore-ground, model rather than at a plain sur involving the whole scene in a face. The perspective, both linear murky tempestuous tone; with the and aërial, is very accurate; and exception of some of the high lights the light and shade are true, and, on the edges of the clouds, which, owing to the causes to which we on the contrary, receive an accession have already alluded, singularly of slendour. Presently, the reflecpowerful. To add to the perplexity tion of those lights is seen in the of the beholders, some steps, near lake, which assumes a golden hue the fore-ground and leading to the and it is thence transferred to a ri. aisle, are represented as undergoing valet that runs through the centre repair. They are dilapidated in va of the piece, and subsequently to rious places, and have planks laid various small pools of water, which over them for the convenience of the were originally almost invisible. workmen, two of whom, it being the A partial gleam of sunshine on a hour of relaxation from labour, are snow-capped mountain in the exasleep in a corner. Some slabs of treme distance is at this instant marble, heaps of mortar, pitchers, strikingly fine. By degrees (perhaps tools, &c. lie close by; and we have somewhat too hastily) the storm no doubt that many a visitor to the passes away, the general obscurity Diorama will innocently conceive is dissipated, the sky clears, the that all these things are real, and landscape smiles again, and erery belong to the editice in which he thing is restored to its primitive stands, and do not form any part of harmony and tranquillity. the picture at which he is gazing. From what we have stated, it will Indeed, it is said that a gentleman be seen that of the principles which the other day was so convinced that entered into the construction of the the two workmen were actually flesh Eidophusikon, the Diorama has hi. and blood, that he threw some half. therto borrowed only the double pence at the lazy fellows to rouse light, in front and behind; and the them, and was surprised to find no consequent power of obscuring or other result produced than that of illuminating any portion of the pichis own very proper exclusion from ture at pleasure. The introduction the room. A friend of ours too de- of actual substances of various and clares, that he overheard a pretty transient hues, warm, cold, or neaParisian ask her Maman, with great tral, of imitative sounds, and above naïvaté, as she pointed to the ma all of appropriate motion, has bison's litter which we have just des- therto been abstained from. There cribed, “ Pourquoi met-on toute cette is one exception to the last remark, cochonnerie-là devant le tableau ! and, in consequence of its being but
The Valley of Sarnen, although one, an injudicious exception. We very respectably painted, is not, in allude to the “bubbling runnel" in our opinion, by any means equal to the fore-ground of the Valley of the Chapel. Nevertheless, in con Sarnen, to which, in the language