THE DIORAMA.
THE beautiful pictorial illusions of the Diorama have opened for the season, with a change of one of the views ; the village of Alagns, in the midst of its snowy waste, having given place to the bright beau. ties of Tivoli seen under a summer sun. The interior of the floss lien of St. Paul, near. Rome, still remains ; and the magical effect of the transformation from its perfect state of architectural beauty to in ruined condition after the fire—the stately vista of columns open to the sky, the marble pavement strewn with blackened beams, the pie. Lured walls defaced, and the pillars broken and calcined by the flames... is as strikingly impressive as on the first view. The view of Tivoli shows the beautiful cascade from a point that is new to those who are familiar with the romantic loveliness of that classic spot through the medium of pictures only. The painters have generally preferred the view of the fell from below, looking up to the far.famed Temple of Vesta, that crowns the summit of the cliff; its antique elegance creating an image of repose, contrasting with the constant motion and never-ceasing roar of the tumbling waters, boiling and hissing in the abyss below. The present view is taken from above ; the spectator being supposed to stand on the terrace of the Temple, which is consequently not visible. You look down on the calm surface of the river, and see the translucent stream fall over the edge of the rock in one sheet of liquid greett ; the frail bridge of planks with a rude band-rail that crosses the chasm seems to vibrate and to glisten with the moisture of the spray. The scene otherwise is:the reverse of romantic ; the bare brick walls, pierced with windows of the houses and manufactories on each bank of the river, are far from picturesque; and:the minute fidelity of the paint. ing increases the cutting hardness of the outlines and the blank cold. ness of the masses. A little verdure on the bank in the foreground gives freshness to the view ; but the greenness has a blue tinge, and the weeds and grass are defined rather too strongly to please English eyes. The sky and floating clouds are admirably painted, however ; and the representation of the sound and motion of the falling water, if not per- fectly illusory, is a sufficiently good imitation to assist matesially in re. ulizizig the scene. The most striking effect is that produced by the gleam of the water through the twilight, the appearance of lights in the windows, and the gradual approach of day, with the sounds of the bell calling to matins and the notes of the horn echoed in the distance.
If the present view fall short of that perfection to which the scenic illusion has been brought in former ones, it is to be attributed more to the peculiar style of French painting, than to any deficiency of labour and skill. The very quality which contributes so materially to the de- ceptive truth of the architectural interiors, interferes with the imitation of external nature, where a looser and freer touch, and less rigid ex- actness of detail, are essential to realize the airy aspect of landscape.
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