two other circular curbs, from the upper one of which rises a cone of
timbers thirty-four feet high, supporting the refreshment-rooms, the
identical ball, and model of the cross, of St. Paul's, Mr. Hornor's
sketching cabin, staircase to the exterior, &c. Without the circle of
timbers already described, is another of twenty-four upright timbers;
and between these two circles the staircases wind. The architectural
fronts of the galleries form frame-works, through which the spectator
may enjoy various parts of the panorama, as in so many distinct
pictures.

The cut and appended references will explain the devices for painting
better than a more extended description; for mere words do not
facilitate the understanding of inventions which in themselves are
beautiful and simple. To heighten the effect, our artist has, however,
introduced light sketchy outlines of the campanile towers of St. Paul's,
the city, and the distant country. Mr. Parris's task must have been one
of extreme peril, and notwithstanding his ingenious contrivances of
galleries, bridges, platforms, &c. he fell twice from a considerable
height; but in neither case was he seriously hurt. His progress reminds
us of other grand flights to fame, but his success has been triumphant,
and alike honourable to his genius and enterprise. In short, looking
at the present advanced state of the Colosseum, Mr. Hornor and his
indefatigable coadjutors may almost exclaim in the words of Dryden,

"Our toils, my friend, are crown'd with sure success:
The greater part perform'd, achieve the less."

* * * * *