NEW VIEWS AT THE DIORAMA.
WE thought that the art of pictorial illusion had been carried to its ut- most height in the wonderfully real Interior Views of this unique exhibition : but the representation of SANTA CROCE, at Florence, which is one of the two new scenes that open to public view on Monday, sur- passes all the previous specimens of the art in novelty and variety of effect, and at least equals them in power and completeness of execution. The visiter, on entering, finds himself, as it were, at one end of the nave of the noble church of Santa Croce—the Westminster Abbey of Tuscany, as it is aptly termed in the description, though the architec- ture is Roman. The broad light of a noonday sun streams across the building, lighting up the stained glass windows, and showing the extra- ordinary truth of imitation with which the monuments and pillars are represented. These have not only the superficial appearance but seemingly the solidity and rotundity. of stone. The stains of appearance, and the various little projections assist the verisimilitude ;• but without regarding these minor points of resemblance the breadth of the light and the graduated depth of the shadows display a fine artist-like feel- ing. As a picture only, without any changes of effect, it would be in the highest degree admirable for the perfection of its execution. Gradually the light retires, and fades into the cold grey neutral tint of shade; which again deepens into the gloomy vacuity of darkness. The solemnity of this effect is instinctively felt, and a stillness appro-
priate to the scene pervades the visiters. Presently a speck of light becomes visible in the distance; and a procession of monks, with lighted tapers, slowly enters a side-door, and crossing the end of the nave, like a i
trail of light, s lost behind a projection of the building. The effect of this is beautiful ; and it is managed with surprising ingenuity. The figures ac- tually move and vanish ; and the light thrown on them proceeds only from the tapers they carry ; so that with them it disappears. After a short space, the candles in branches on the pillars, and the tall tapers before an image of the Virgin, mid beside the high altar, are gradually kin- dled; and the bright reflections gild the under part of the cornices of an architecture above them, illuminating the sculptures near. A flood of light at the same time issues from the choir (we suppose); and the vacant chairs grouped in the space before the altar become, as if by magic, occupied with a numerous congregation. The clock in the tower above is beard to strike ; the silver mass-bell tingles, and the organ peals forth a solemn strain. This is really impressive ; you have no sense of theatrical trickery—the illusion is so complete, and produced so unos- tentatiously. The scene:silenity changes ; the lights fade and disappear, the chairs once more become empty, the building is deserted, and the cold gloom and vacuity succeeds. It is a beautiful vision conjured up by the enchantment of art. As an instance of the attention paid to the minutest points of reality, we may mention, that the intense light in the centre of the flame of a candle is shown contrasting in its whiteness and brilliancy with the yellow glare around it. In short, the illumi- nated painting is almost as perfect as the daylight scene ; and of course more strikingly effective. When the picture is viewed afterwards under the effect of sunlight, no traces of the transparent part of the painting remain.
This picture is painted by Mr. Boirrosr who, we believe, produced all the interiors exhibited here. He is also the painter of the other view—the CAMPO VACCINO at Rome ; but he does not excel in the representation of out-door scenes ; to equal in them the illusion of in- teriors, is impossible. The architectural remains in this view are, how, ever, admirably painted. The columns of the Temples of Jupiter Tonans and the Goddess Fortune are solid and real ; and as a correct view it is interesting. We feel, however, that it appears to disadvantage beside the wonderful illusion of Santa Croce.
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