In No. 352, we gave a popular description of the interior of the
Colosseum; but the reader's attention was therein directed to the
splendid effect of the panorama or picture, whilst the means by which
the painting was executed have been reserved for our present Number.
This we have endeavoured to illustrate by the annexed engraving; and
the explanation will be rendered still clearer by reference to No. 352,
wherein we have given an outline of the difficulties with which the
principal artist, Mr. Parris, had to contend in painting the panorama.
We, however, omitted to state an obstacle equally formidable with the
_reconciliation_ of the styles of the several artists engaged to
assist Mr. Parris. This additional source of perplexity was the great
change, almost amounting to the vitrification of enamel colours, which
occurred in the hues of the various pigments, according to the point of
view, and the immense distance of the canvas from the spectator.

Besides furnishing the reader with the construction of the apartments,
galleries, and ascents of the interior, the engraving presents some idea
of the scaffoldings, bridges, platforms, and other mechanical
contrivances requisite for the execution of the picture.

The spiral staircase, it will be seen, leads to the lower gallery for
viewing the picture. Unconnected with the intermediate gallery, there is
a communication from the lowest gallery to the highest, and thence to
the refreshment-rooms and exterior of the dome. The ascent to the second
price gallery is by a spiral staircase under those already mentioned.
The column, or central erection, containing these staircases and
the ascending-room, is of timber, with twelve principal uprights
seventy-three feet high, one foot square, set upon a circular curb of
brickwork, hooped with iron, and further secured by bracing, and by