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to any argument of that kind, because, were it not for theirregularity censured by that writer, and caused by the addi-tion of a portico to the circular part of their plan, both thebuildings he mentions would appear heavy, lumpish masses,whatever decoration might be bestowed upon them.

The Colosseum was built for the purpose of exhibiting apanorama of London , on a scale of magnitude hitherto un-attempted. The projector made his sketches from an observa-tory placed on scaffolding several feet above the top ofSt. Paul’s cross ; these sketches were afterwards transferredto the canvass, and in their finished state display the wholeof this vast metropolis and its environs, as it would appear onthe clearest day, and aided by the most powerful vision. Touse the somewhat magniloquent language of a contemporary,the spectator “ sees beneath the summer sunshine of a serenesky, divested of the usual canopy of smoke and vapour, thisgreat metropolis, with its countless multitude of streets andsquares, its churches, palaces, mansions, hospitals, theatres,public offices, institutions scientific and literary; its nobleriver, with its numerous bridges; and in the distance a richand varied expanse of rural and sylvan scenery, extendingfrom the woodlands of Kent and Essex in the east, to theforest and castle of Windsor on the western horizon. Recover-ing from the wonder created by this first view of the pictureas a whole, he finds new cause of astonishment in examiningit in detail; for not only may the prominent structures bediscerned and known, but every private residence in townor country, which is visible from St. Paul’s itself, be recog-nized in the representation; and the various objects in theforeground, as well as in the distance, will bear the test ofthe telescope. To increase the effect, improve the conve-nience for inspection, and, at the same time, to augment themeans of judging of the merits of the performance as a workof art, there is a succession of galleries, the highest of whichis constructed for the purpose of giving a more satisfactoryview of the distant country; an easy ascent from the galleriesleads to an esplanade, on the circle that crowns the exteriorof the Colosseum , from which is beheld a real panoramaformed by the Regent’s Park and its elegant vicinity.”

Since the above description was written, the Colosseum ,as a place of amusement, has suffered many vicissitudes, andat one time had fallen very low in public estimation ; in theyear 1844, however, it fell into the hands of the present pro-prietor, who has expended very large sums in completelyremodelling the whole establishment.

The alterations considered desirable were made from thedesigns and under the direction of Mr. William Bradwell,whose taste, skill, and judgment have, in this instance, as inmany others, produced the most admirable results. Theability he has displayed has been seconded by the proprietorwith the greatest liberality, and the unhesitating appropria-tion of whatever amount of capital might be required to carryout the conceptions of the talented artist employed.

There are two entrances, one in the Regent’s Park underthe portico, the other in Albany Street, at the back of thebuilding. Entering by the former, the visitor proceeds downa handsome staircase to a vestibule, leading to a large saloon,called the Glyptotheca, or Museum of Sculpture. The roofof this apartment presents to the eye a lofty dome, of severalthousand feet of richly cut glass, springing from an entablatureand cornice supported by numerous columns. The frieze isenriched with the whole of the Panathenaic procession fromthe Elgin Marbles , and is continued without interruptionaround the entire circumference of the hall, above which aretwenty fresco paintings of allegorical subjects on panels, themouldings, cornices, capitals of columns, and enrichmentsbeing in gold. Beyond the circle of columns is another of

as many pilasters, dividing and supporting arched recin each of which, as well as between the columns, are P j nworks of art from the studios of many eminent sculpt 01 ^.],the centre of the apartment is the circular frame- genclosing the staircase leading to the panorama; this is t | |gwith drapery tastefully disposed, from the summit ° on j Z -arched dome to the floor, concealing the stairs, and ** arin t j on s.ing with the prevailing tints of the architectural decoraAround this are seats covered with rich Utrecht r , l6raised on a dais, and divided by groups of Cupid and I ^ ure9supporting candelabra in the form of palm-trees; thebeing white, and the draperies, leaves, plumes, & c -> » t |, e

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the

COLOSSUS, at Rhodes, a celebrated statue

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made of brass, popularly supposed to have been erects gto0 d 0entrance of the harbour in such manner that a m ^ T 1each pier, and ships passed through its extended gjiat 6 ’statue, of which Pliny has left an account, was begun ye*a pupil of Lysippus , and completed by Laches; t ^

were employed in making it. Its height was g flog®thumb was so large that few men could span it, an ^ jtwere much larger than those of ordinary statu® „

cast hollow, and filled with large stones, to coun J^j t iiin "'^sweight, and keep it steady on its supporters. ^ ga jd, ''.‘ swinding staircase ascending to the top, where, i a0 d 9hung a vast mirror, in which the country of Sy rI ^| ie n 0 ^entering the ports of Egypt , might be discerned- ^ j 0 eS $ ^that its legs rested one on each side of the h art> ° t j l0 rity>however, seem to be supported by any good a u 9 j

modem travellers do not agree as to its site. £j 0 los sll3 i 1 icl 1After standing upwards of sixty years, the ^ ' voverthrown by an earthquake in the year 224 a* gl) t

also the buildings of the city suffered greatly,time, was the commercial importance of Rhodes, ^gce* 1princes of the day vied with each other in the m

uciiig Willie, aim mt; uiiipciies, it;tive»j piumcojFrom this hall, the visitor ascends to the panorama istaircase, or is raised in a small room, called the AsRoom, which is elevated by means of machineryrequired height. i e d to

A panorama of Paris by moonlight has now succe #c tthe panorama of London before mentioned, and seems toas much as the former picture. . . gtr uC'

Since the erection of what may be termed the orig' na ^ n tl ,eture, a considerable addition has been made to it se c°"^eastern side towards Albany Street. Here is a ‘ ve «d'entrance, leading by large folding doors into a sq uaI . _ tl ,ebule, and thence into an arched corridor, lighted dur t>yday from above*by circles of cut glass; and at nl ® gtof?numerous bronze tripods. Descending to the base® e gft ] 0 oiiiby three flights of steps, the visitor enters a spacious ga Iesupported by columns and pilasters, appropriated to j e a l *of refreshments; from this room ornamented glass do ^ Joto conservatories, aviaries, and other objects of in tere jjttl®the upper story of this part of the building a handsoit ^ t |ietheatre has been formed, the decorations of which 9

most gorgeous character. In this theatre is eX l ’ re sei>'moving picture called the “ Cyclorama,” in which a i yei' ftation is given of the great earthquake at Lisbon. 111 ^ [jig 111755. As a work of art, the panorama is deserving tb<jpraise, and aided by the labours of the machinist e0 jns 0inventive nhilitv of Mr. Bradwell. the nresiding S n ,|]i

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inventive ability of Mr. Bradwell, the presidingthe establishment, a scenic illusion has been producej ^is really well worthy of admiration. Altogether g(11[seum is deserving the attention of the architectur ^ jtas something beyond a mere place of amusement. j ec0 ra (l 'may learn how much may be done in the way 01 jj^ji 1art, by a tasteful arrangement of those materialssister arts place at his disposal. ^ AP j,e