THE DIORAMA.
This marvellous exhibition is again open, with a new illusory picture— Interior of the Abbey Church of St. Omen, at Rouen. That beautiful church is remarkable for its lofty vaulted roof—exceeding Westminster Abbey in height, the long perspective of its clustered columns, and the number and richness of its stained-glass windows ; characteristics that are peculiarly suited to the effects of dioramic painting. The ap- pearances of space and atmosphere in the vista, and of solidity in the columns and pavement, are represented to deception : it seems almost impossible to believe that the scene before the eye is a painting on a flat surface. The effects, and some of the details, are less perfect. The first effect under which the picture is shown is described to be "mid- day, with a full blaze of sun" : to us the daylight appeared too pa/e, and the tone cold and monotonous for noontide. The surface of the stone, too, has a smoothness, that, coupled with tameness in the light and shade, (owing to the insufficient scale of the gradations,) gives a comparatively weak and papery aspect to this phase of the scene. The dimness of twilight which succeeds brings out the good qualities of the chiaroscuro to advantage ; and this is followed by one of the most brilliant and daring effects ever exhibited in the whole series of dioramic illusions: the "storied windows" in the foreground are illumined by a flood of moonlight, that, streaming through the painted glass, impinges on the sides of the clustered columns, bringing out their forms in palpable relief ; while at the same time the church is lighted up by numerous wax-tapers, shedding a lurid glare on the throng of worshipers that now appear assembled in the nave. The opposition of bright moonlight to the dim and red rays of candles has a very striking effect. The moon -beams are best represented ; though, surely, the clerestory windows of the nave would admit more light than they do, considering the brilliancy of that which pours through those of the aisle, and the intense hues of the stained-glass that would colour the reflections on the pillars : this portion of the scene, however, is vividly real. The quantity of light that falls on the con- gregation strikes us as being too great for the scattered glimmer of tapers no nearer than the pillars of the nave, though reinforced by lamps hung beneath; or rather, the masses of light and shade are too broad and concentrated, as though produced by a body of light on one side in- stead of detached gleams on both sides. Whatever weight these objec- tions may be entitled to, they do not invalidate the claims of the picture to admiration : it is a surprising piece of illusion.
The other picture is the exterior of .Notre Dame, Paris; seen under effects of sunset and moonlight. The evening sky is beautifully painted, though the deserted streets give to the scene the appearance of sunrise. The cathedral shows to best advantage by moonlight ; which is ad- mirably managed, except that there is too much dark for a full un- clouded moon. Both pictures are painted by M. BENOUX.
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