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

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:—

      Now to the sister hills that skirt her plain,

      To lofty Harrow now, and now to where

      Majestic Windsor lifts his princely brow,

      In lovely contrast to this glorious view,

      Calmly magnificent.

      Heavens! what a goodly prospect spreads around,

      Of hills, and dales, and woods, and lawns, and spires,

      —–till all

      The stretching landscape into mist decays.

      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."

      Our limits advise us to quit the principal building, or that appropriated to the panoramic view, especially as we cannot convey to the reader an indistinct notion of the curious stair-work, machinery, and carpentry of the ascents, &c. We were induced to ascend to the exterior, but the mid-day smoke of the town, and the heavy fog of the day, spoiled our view. Had it not been so, the numerous buildings below, with the gardens, &c. would have reminded us that much yet remained to be seen. We hastened down the staircase, as quickly as the loop-hole light would allow, (for this part is to be lit with gas,) and returned to the front court by the large door at which we entered. In the entrance-hall are two aloes in tubs, one of them of noble size, and we could not help contrasting this single triumph of Nature with the little world of art we had just been exploring; and our train of reflection was unbroken on our entering by the left-hand lodge-door, a range of arched conservatories, in the centre of one of which is a Camellia Japonica, which produces thirty varieties of flower, and is, perhaps, the most magnificent specimen in England. Already here are several rare and beautiful plants—a large proportion of exotics, and some of the most curious plants of this country's growth. In the centre of one of the chambers is a circular tank of water, surrounded by small jets, which are to raise their streams so as to form a round case of water, within which are to be aquatic plants, &c. At the end of this room aviaries are in preparation.

      Hence we ascended into a beautiful reading-room, with French windows and rusticated Gothic verandas. The artistes were here busy in hanging the walls, &c. with green damask moreen. The next room in the suite will be a library of beautiful proportions; and beyond this will be another room equally splendid, besides numerous other smaller apartments, in all numbering thirty. The object of this part of the building is to afford to subscribers all the advantages of a club and a reading-room, combined with the novel and luxurious conveniences of the establishment. We now come to what appears to us the bijou of the whole. A passage leads from the saloon to a suite of small chambers, representing a Swiss cottage. One of these rooms is finished. It is wainscotted with coloured (knotted) wood, and carved in imitation of the fanciful interior of the dwellings of the Swiss mountaineers. The immense projecting chimney, its capacious corners, and the stupendous fire-dogs, are truly characteristic charms of cottage life; and the illusion is not a little enhanced by the prospect from the windows, consisting of terrific rocks and caverns,3 among which a cascade is to fall from an immense height into a lake, which is to spread immediately beneath the windows. The water is not yet admitted here; but from some successful specimens of this branch of art, which we have seen, we are induced to think the Swiss cottage and its scenery will be very attractive. The exterior of the dwelling, with its broad eaves, &c. is beautifully picturesque; and the interior, supplied with a suite of rustic furniture, is even sufficiently unique for the recherché taste of Mr. Hope.

      This is but an imperfect outline of the ingenious works which are now just finishing at the Colosseum. The undertaking, as the name imports, is one of the most gigantic enterprises for public gratification which it has ever been our lot to witness; but great as may be the capital already expended here, and indefatigable as have been the exertions of the proprietor during the last seven years, it is almost impossible that such genius should not be amply remunerated. As a concentration of every refined amusement and luxurious comfort which the taste of the times can dictate, the Colosseum will doubtless be without a rival in Europe. The charms of useful and elegant literature will here alternate with the exquisite masterpieces of modern art—and to aid these attractions, the pure pleasures of the garden and green-house, and studies from the wild and wonderful of sublime nature—will be superadded. The extent occupied by the requisite buildings, &c. is, as we were informed, little short of five acres.

      To conclude, the Colosseum will very shortly be opened to the public. In the meantime, such persons as wish, may be gratified with a private view of the works in their present state, on terms which have already been announced by the proprietor.

      TO –

(For the Mirror.)

      Yes! tis to thee love

      I waken the string:

      Yes! 'tis to thee love

      I only would sing;

      And in thine eyes love,

      I ask but to shine;

      With softest affection,

      As thou dost in mine.

      Dearest and kindest,

      I ask but to be

      Cherished by thee love,

      As thou art by me;

      Then shall our moments

      Glide sunnily o'er.

      And blest with each other,

      We sigh for no more.

      Wife of thy bosom,

      By thee loved alone,

      No dearer blessing

      This proud world can own:

      All its attractions

      Delighted I'll fly,

      For thee love, to live,

      And with thee love to die!

H

      HIEROGLYPHICAL CHARACTERS

(For the Mirror.)

      Hieroglyphics consist in certain symbols which are made to stand for invisible objects,

3

Mimic rocks and stones may be wrought into sublime effect; and have often been introduced into landscape-gardening with striking success.