BD036921

GLYPTOTHECA,
OR
MUSEUM OF SCULPTURE,
DESIGNED AND ERECTED BY MR. WILLIAM BRADWELL.
THOSE who remember the apartment on this site, called the “Saloon of Arts,” cannot fail to be struck with its complete transformation. In lieu of the calico draperies, which had the appearance of a large tent hastily fitted up for some temporary purpose, the visitor now beholds a lofty dome, of several thousand feet of richly cut glass, springing from an entablature and cornice supported by numerous columns. The frieze is enriched with the whole of the Paiiathenaic procession from the Elgin Marbles, and is continued without interruption around the entire circumference of the Hall, above which are twenty fresco paintings of allegorical subjects on panels ;f the mouldings, cornices, capitals of columns, and enrichments being all in gold. Beyond the circle of columns is another of as many pilasters, dividing and supporting arched recesses, in each of which, as well as between the columns, are placed works of art from the studios of some of the most eminent British and Foreign sculptors, who have gladly availed themselves of the opportunity, now first afforded them in London, of exhibiting their productions with those
* Modelled by Mr. Henning, jun. f Painted by Mr. Absalom

GRAND PANORAMA OF LONDON,*
PAINTED BY MR. E. T. PARRIS f
THE very disadvantageous circumstances under which this work was executed, and the precipitancy with which the doors of the Exhibition were thrown open to the public, prevented Mr. Parris from doing himself complete justice; and the present proprietor was, therefore, most happy to secure that gentleman’s services in the renovation and emendation of THE PicTulta, which he has ALMOST ENTIRELY REPAINTED.
The whole of the sky and distant country has been materially improved, and the i!Ietropolis exhibited under a clearer atmosphere, freer from smoke than in the first instance, many of the details having been unnecessarily obscured by a too prodigal display of that only stain on the glorious reputation of an Englishman’s fireside.
“From a balustraded gallery, with a projecting frame beneath it, in exact imitation of the outer dome of St. Paul’s cathedral, the visitor is presented with a picture which cannot fail at once to create astonishment and delight: a scene, which will inevitably perplex and confuse the eye and mind for some moments, but which, on further examination, will easily be understood. It presents such a pictorial history of London—such a faithful display of its myriads of public and private buildings—_such an
* This extraordinary, and, in its peculiar style, uneqaalled effort of human ingenuity and perseverance was projected and commenced by Mr. Homer, and completed by Mr. E. T. Parris and assistants, under the latter gentleman’s direction.
j- See the Embossed Views with Key at the end of this Description.

impression of the vastness, wealth, business, pleasure, commerce, and luxury of the English metropolis, as nothing else can effect. Histories, descriptions, maps, and prints, are all imperfect and defective, when compared with this immense Panorama_-they are scraps and mere touches of the pen and pencil_whilst this imparts at a glance, a Cyclopirdia of information—a concentrated history—a focal topography, of the largest and most influential city in the world.”
“The visitor will better understand the expanded scene before him, and the metropolis it represents, by taking four different stations in the gallery; and then examining in succession the views towards the north, the east, the south, and the west.
“Among the objects displayed towards The North; the eye recognises Newgate
Market, the old College of Physicians, Newgate, Christ’s Hospital, St. Bartholomew’s
Hospital, Smithfield Market, with its crowds of sheep and oxen, and the new Post
Office. These are objects near the foreground ; beyond these are Clerkenwell, the
Charter-House, and the lines of Goswell and St. John Streets, Pentonville, Islington,
and Hoxton. In the next, or third distance, it descries Primrose Hill, the noted
Chalk Farm, Hampstead, and a continued line of fine wooded and wild hills to Highgate.
The bold Archway and excavated road at the latter place, and the line of the great
north road from Islington to Highgate, are clearly to be traced; whilst Stamford
Hill, Muswell Hill, part of Epping Forest, and portions of Essex, Hertfordshire, and
Middlesex, bound the horizon.
“To the East is displayed a succession of objects all differing from the former, in effect, character, and associations. Whilst the latter view exhibits the quiet, the rural, the cheerful scenery of the environs of London; this presents us with the immense bustle
* To add to the reality of the scene, various clocks are heard, as from distant churches; also the noble
sounds of the metropolitan church bells.

and business belonging to the ever-flowing Thames, the commerce dependent thereon,
the massive warehouses and spacious docks, constructed for the stowage arid security
of imported articles of luxury, utility, and wealth, from all parts of the globe. In the
immediate foreground, is St. Paul’s School House; whilst the lines of Cheapside
Cornhill, Leadenhall Street, and Whitechapel, carry the eye through the very heart of
the city; conducting it to Bow, Stratford, and a fine tract of woodlands in Essex. On
the right and left of this line are seen the towers of Bow Church, Cheapside, St. Mary
VIiioth, St. Michael (Cornhill), St. Ethelburg (Bishopsgate), and others of subordinate
height; the Bank, Ma*ion House, Royal Exchange, East India House, and several of
the Companies’ halls. Another line nearly parallel, but a little to the east, extends
through Watling Street (the old Roman road), to Cannon Street, Tower Street, and to
that great national prison for royal and noble personages, that fortress and museum, the Tower. The course of the Thames, with its wilderness of masts and vessels, the
numerous docks and warehouses on its banks, the fine Hospital of Greenwich, and the
equally fine country beyond it, contrasted with the levels of the Essex coast, are all
defined and recognised in this direction.
“Turning to the right, for the Southern view, the eye traces the undulating line of
the Surrey Hills in the distance, and the Thames near the fore-ground. The noble
river here assumes its real importance, and displays on its surface a countless number
of various vessels, among which the modern and useful steam-boat is particularly distinguishable. The fine bridges of London, Southwark, Blackfriars, Waterloo, and
Westminster, are not only fully and clearly marked, but constitute very imposing and
interesting features. In tracing the two banks of the river from London Bridge to the
westward, an amazing number and variety of public buildings arrest the attention, and
separately awaken reflections and associations of irresistible interest.

“The Westera view unfolds a new and different series of objects. First, in effect and beauty of execution, are the two campanile turrets, the pediment, and the roof of the western end of St. Paul’s Cathedral. The painting here is both masterly and magical; it completely deceives the eye, and imposes upon the imagination. The spectator cannot believe that these towers are depicted on the same canvass as the whole line of objects from Ludgate Hill to St. James’s Park. This view, to the west, embraces the long lines of thoroughfare, Ludgate Hill, Fleet Street, the Strand, Piccadilly, etc., Holborn, and Oxford Road, with the Inns of Court, Westminster, and numerous churches and public buildings to the right an’ left; also Hyde Park, Kensington Gardens, and a long stretch of flat country to Windsor.”
A stair-case leads to the Upper Gallery, from which the spectator again contemplates the whole picture in a sort of bird’s-eye view.