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arc, focusing on two of the four scenes while the remaining two were prepared, which allowed the canvases to be refreshed throughout the course of the show. While topographical detail was crucial to panoramas, as evidenced by the teams of artists who worked on them, the effect of the illusion took precedence with the diorama. Painters of the diorama also added their own twist to the panorama's props, but instead of props to make the scenes more real, they incorporated sounds. Another similarity to the panorama was the effect the diorama had on its audience. Some patrons experienced a stupor, while others were alienated by the spectacle. The alienation of the diorama was caused by the connection the scene drew to art, nature and death. After
Daguerre and Bouton's first exhibition in London, one reviewer noted a stillness like that "of the grave." To remedy this tomblike atmosphere Daguerre painted both sides of the canvas, known as "the double effect." By lighting both painted sides of the canvas, light was transmitted and reflected producing a type of transparency producing the effect of time passing. This effect gave the crew operating the lights and turning the roundabout a new type of control over the audience than the panorama ever had.
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the scene to increase realism. Two windows laid into the roof allowed natural light to flood the canvases, also making the illusion more realistic. Two scenes could be exhibited at the rotunda in
Leicester Square simultaneously; however, the rotunda at Leicester Square was the only rotunda to house two panoramas. Houses with single scenes proved more popular. While at Leicester Square, the audience was herded down a long, dark corridor to clear their minds. The idea was to have spectators more or less forget what they just saw, leaving their minds blank to view the second scene. Despite the audience's "mind blanking" walk in the dark, panoramas were designed to have a lingering effect upon the viewer. For some, this attribute placed panoramas in the same category as propaganda of the period: no more than an illusion meant to deceive.
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mechanism to clear the minds of the audience as they moved from one panorama to the other. To accomplish this, patrons walked down a dark corridor and up a long flight of stairs where their minds were supposed to be refreshed for viewing the new scene. Due to the immense size of the panorama, patrons were given orientation plans to help them navigate the scene. These glorified maps pinpointed key buildings, sites, or events exhibited on the canvas.
444:, the moving panorama incorporated music, sound effects and stand-alone cut-outs to create their mobile effect. Such a traveling motion allowed for new types of scenes, such as chase sequences, that could not be produced so well in either the diorama or the panorama. In contrast specifically to the diorama, where the audience seemed to be physically rotated, the moving panorama gave patrons a new perspective, allowing them to " as a moving eye".
267:" (an adjective that didn't appear in print until 1813). The extended meaning of a "comprehensive survey" of a subject followed sooner, in 1801. Visitors to Barker's Panorama of London, painted as if viewed from the roof of Albion Mills on the South Bank, could purchase a series of six prints that modestly recalled the experience; end-to-end the prints stretched 3.25 metres. In contrast, the actual panorama spanned 250 square metres.
494:. It has been argued that Wordsworth's problem with the panorama was the deceit it used to gain popularity. He felt, critics say, that the panorama not only exhibited an immense scene of some kind, but also the weakness of human intelligence. Wordsworth was offended by the fact that so many people found panoramas irresistible and concluded that people were not smart enough to see through the charade. Because of his argument in
440:. First unveiled in 1809 in Edinburgh, Scotland, the moving panorama required a large canvas and two vertical rollers to be set up on a stage. Peter Marshall added the twist to Barker's original creation, which saw success throughout the 19th and into the 20th century. The scene or variation of scenes passed between the rollers, eliminating the need to showcase and view the panorama in a rotunda. A precursor to
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consulted other paintings, of average size, to add further detail. Martin Meisel described the panorama: "In its impact, the
Panorama was a comprehensive form, the representation not of the segment of a world, but of a world entire seen from a focal height." Though the artists painstakingly documented every detail of a scene, by doing so they created a world complete in and of itself.
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The sublime became an everyday thing and therefore, a material commodity. By associating the sublime with the material, the panorama was seen as a threat to romanticism, which was obsessed with the sublime. According to the romantics, the sublime was never supposed to include materiality and by linking the two, panoramas tainted the sublime.
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their ability to imagine things for themselves. For
Wordsworth, panoramas more or less brainwashed their audiences. Perhaps Wordsworth's biggest problem with panoramas was their popularity. Wordsworth wanted people to see the representation depicted in the panorama and appreciate it for what it was – art.
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Another problem with the panorama was what it came to be associated with, namely, by redefining the sublime to incorporate the material. In their earliest forms, panoramas depicted topographical scenes and in so doing, made the sublime accessible to every person with 3 shillings in his or her pocket.
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The panorama evolved somewhat and in 1809, the moving panorama graced the stage in
Edinburgh. Unlike its predecessor, the moving panorama required a large canvas and two vertical rollers. The scene or variation of scenes passed before the audience between the rollers, eliminating the need to showcase
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Outside of
England and France, the popularity of panoramas depended on the type of scene displayed. Typically, people wanted to see images from their own countries or from England. This principle rang true in Switzerland, where views of the Alps dominated. Likewise in America, New York City panoramas
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The first panoramas depicted urban settings, such as cities, while later panoramas depicted nature and famous military battles. The necessity for military scenes increased in part because so many were taking place. French battles commonly found their way to rotundas thanks to the feisty leadership of
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christened the new rotunda, all 250 square meters of it. The previously reduced version, in contrast, measured only 137 square meters. The rotunda at
Leicester Square was composed of two levels, although they varied in size. Spectators observed the scenes from a platform in the center of the rotunda.
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The
Cyclorama of Early Melbourne, by artist John Hennings in 1892, still survives albeit having suffered water damage during a fire. Painted from a panoramic sketch of Early Melbourne in 1842 by Samuel Jackson. It places the viewer on top of the partially constructed Scott's Church on Collins Street
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Unlike the panorama where spectators had to move to view the scene, the scenes on the diorama moved so the audience could remain seated. Accomplished with four screens on a roundabout, the illusion captivated 350 spectators at a time for a period of 15 minutes. The images rotated in a 73 degree
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The subjects of panoramas transformed as time passed, becoming less about the sublime and more about military battles and biblical scenes. This was especially true during the
Napoleonic era when panoramas often displayed scenes from the emperor's latest battle whether a victory or a crushing defeat
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much in the same way panoramas did. She concluded that panoramas were a balancing act between what the senses absorbed and what they came away with, something also present in
Wordsworth's poetry. By her results then, Wordsworth's similar imitation of the senses proves he was not entirely opposed to
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While easy access was an attraction of the panorama, some people believed it was nothing more than a parlor trick bent on deceiving its public audience. Designed to have a lingering effect upon the viewer, the panorama was placed in the same category as propaganda of the period, which was also seen
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The main goal of the panorama was to immerse the audience to the point where they could not tell the difference between the canvas and reality, in other words, wholeness. To accomplish this, all borders of the canvas had to be concealed. Props were also strategically positioned in the foreground of
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owns another moving panorama, which it is conserving in public during the summers of 2011 and 2012. "The Panorama of the Monumental Grandeur of the Mississippi Valley"—the only remaining of six known Mississippi River panorama paintings—measures 2.3 metres (90 inches) wide by 106 metres (348 feet)
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enveloping the population. In this context, phantasmagoria refers to signs and other circulated propaganda, including billboards, illustrated newspapers and panoramas themselves. Wordsworth's biggest problem with panoramas was their pretense: the panorama lulled spectators into stupors, inhibiting
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To create a panorama, artists travelled to the sites and sketched the scenes multiple times. Typically a team of artists worked on one project with each team specializing in a certain aspect of the painting such as landscapes, people or skies. After completing their sketches, the artists typically
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Two scenes could be exhibited in the rotunda simultaneously; however, the rotunda at Leicester Square was the only one to do so. Houses with single scenes proved more popular to audiences as the fame of the panorama spread. Because the Leicester Square rotunda housed two panoramas, Barker needed a
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Barker made many efforts to increase the realism of his scenes. To fully immerse the audience in the scene, all borders of the canvas were concealed. Props were also strategically positioned on the platform where the audience stood and two windows were laid into the roof to allow natural light to
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in the Melbourne CBD. Commissioned to celebrate 50 years of the city of Melbourne, it was displayed in the Melbourne Exhibition Building for nearly 30 years before being taken into storage. Relatively small for a Cyclorama, it measured 36 m (118 ft) long and 4 m (13 ft) high.
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People could immerse themselves in the scene and take part in what became known as the locality paradox. The locality paradox refers to the phenomenon where spectators are so taken with the panorama they cannot distinguish where they are: Leicester Square or, for example, the Albion Mills. This
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that the masses needed "absolute dominance" and the illusion offered by the panorama gave them a sense of organization and control. Despite the power it wielded, the panorama detached audiences from the scene they viewed, replacing reality and encouraging them to watch the world rather than
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Barker's Panorama was hugely successful and spawned a series of "immersive" panoramas: the Museum of London's curators found mention of 126 panoramas that were exhibited between 1793 and 1863. In Europe, panoramas were created of historical events and battles, notably by the Russian painter
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and view the panoramas in a rotunda. Peter Marshall added the twist to Barker's original creation, which saw success throughout the 19th and into the 20th century. Despite the success of the moving panorama, Barker's original vision maintained popularity through various artists, including
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found popularity, as well as imports from Barker's rotunda. As painter John Vanderlyn soon found out, French politics did not interest Americans. In particular, his depiction of Louis XVIII's return to the throne did not live two months in the rotunda before a new panorama took its place.
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However, Wordsworth's hatred of the panorama was not limited to its deceit. The panorama's association with the sublime was likewise offensive to the poet as were other spectacles of the period that competed with reality. As a poet, Wordsworth sought to separate his craft from the
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as deceitful. The locality paradox also attributed to the arguments of panorama critics. A phenomenon resulting from immersion in a panorama, the locality paradox happened when people were unable to distinguish where they were: in the rotunda or at the scene they were seeing.
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Another moving panorama was donated to the Anne S. K. Brown Military Collection at Brown University Library in 2005. Painted in Nottingham, England around 1860 by John James Story (d. 1900), it depicts the life and career of the great Italian patriot,
169:. Barker's vision was to capture the magnificence of a scene from every angle so as to immerse the spectator completely, and in so doing, blur the line where art stopped and reality began. Barker's first panorama was of Edinburgh. He exhibited the
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The panorama's rise in popularity was a result of its accessibility in that people did not need a certain level of education to enjoy the views it offered. Accordingly, patrons from across the social scale flocked to rotundas throughout Europe.
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726:; it is in poor condition and not on public display. It was purchased in 2007 by a group of North Carolina investors who hope to resell it to someone willing to restore it. Only pieces survive of a massive cyclorama depicting the
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Conversely, J. Jennifer Jones argues Wordsworth was not opposed to the panorama, but rather hesitant about it. In her essay, "Absorbing Hesitation: Wordsworth and the Theory of the Panorama", Jones argues that other episodes of
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59:. A few have survived into the 21st century and are on public display. Typically shown in rotundas for viewing, panoramas were meant to be so lifelike they confused the spectator between what was real and what was image.
846: ft) high and 83 m (273 ft) long, painted on both sides in watercolor. Numerous battles and other dramatic events in his life are depicted in 42 scenes, and the original narration written in ink survives.
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395:. Most major European cities featured more than one purpose-built structure hosting panoramas. These large fixed-circle panoramas declined in popularity in the latter third of the nineteenth century, though in the
809: ft) high, it is one of the largest surviving moving panoramas (although far short of the "Three Miles of Canvass" advertised by its creators in their handbills). The museum is currently planning for the
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to public acclaim. The first panorama disappointed Barker, not because of its lack of success, but because it fell short of his vision. The Edinburgh scene was not a full 360 degrees; it was semi-circular.
885:, founded by hunter and taxidermist Gustaf Kolthoff, opened its dioramas to the public in November 1893 and is still an active museum with about 15000 visitors yearly. The museum has panorama paintings by
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498:, it is safe to assume Wordsworth saw a panorama at some point during his life, but it is unknown which one he saw; there is no substantial proof he ever went, other than his description in the poem.
340:, which saw so much success that he retired after finishing it. Henry Aston's relationship with Bonaparte continued following Bonaparte's exile to Elba, where Henry Aston visited the former emperor.
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was among those who rebelled against the growing popularity of the panorama for precisely this reason. She did not like seeing so many people – elite and otherwise – fooled by something so simple.
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Napoleon Bonaparte. Henry Aston Barker's travels to France during the Peace of Amiens led him to court, where Bonaparte accepted him. Henry Aston created panoramas of Bonaparte's battles including
737:, there are somewhat more extant, though many are in poor repair and the conservation of such enormous paintings poses very expensive problems. The most notable rediscovered panorama in the
300:, they might have in the carriage with them a large lens set in a picture frame, a "landscape glass" that would contract a wide view into a "picture" when held at arm's length.
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A modern take on the panorama believes the enormous paintings filled a hole in the lives of those who lived during the nineteenth century. Bernard Comment said in his book
327:. Sometimes the viewing position was physically recreated in the panorama's rotunda. The distant image of London shown here is the painted backdrop of the panorama.
1504:"Thomas -"Making Visible: The Diorama, the Double and the (Gothic) Subject"- Gothic Technologies: Visuality in the Romantic Era - Praxis Series - Romantic Circles"
1084:"Thomas -"Making Visible: The Diorama, the Double and the (Gothic) Subject"- Gothic Technologies: Visuality in the Romantic Era - Praxis Series - Romantic Circles"
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Thomas -"Making Visible: The Diorama, the Double and the (Gothic) Subject"- Gothic Technologies: Visuality in the Romantic Era - Praxis Series - Romantic Circles
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572:. Both of these works are considered of interest as they depict domestic scenes of their times. Depictions of warfare were more common as subject matter,
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Die Welt der Panoramen. Zehn Jahre Internationale Panorama Konferenzen / The World of Panoramas. Ten Years of International Panorama Conferences
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association with delusion was a common critique of panoramas. Writers also feared the panorama for the simplicity of its illusion.
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among others. The revival in popularity for the panorama peaked in the 1880s, having spread through Europe and North America.
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795:, created by artists Benjamin Russell and Caleb Purrington in 1848. At about 395 m (1,295 ft) long and 2.6 m (
344:(1764–1823) was the first important French panorama painter. Among his 17 panoramas, the most famous describe the cities of
165:, the idea struck him and he obtained a patent for it the same year. Barker's patent included the first coining of the word
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have just as much sensory depth as panoramas are supposed to have had. Jones studied how Wordsworth imitated the senses in
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Annotated Video Tour of Robert Barker's Panorama of London in November 1790, taken from the roof of Albion Mills, Southwark
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288:, etched on several contiguous sheets. When Barker first patented his technique in 1787, he had given it a French title:
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not encountered in the panorama's predecessors, the wide-angle "prospect" of a city familiar since the 16th century, or
214:'s diagram illustrating the Leicester Square Rotunda, in which was exhibited the Panorama, 1801 (annotated adaptation)
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has long been characterized as an opponent of the panorama, most notably for his allusion to it in Book Seven of
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to stand on a central platform under a skylight, which offered an even lighting, and get an experience that was "
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Bird's Eye View from the Staircase & the Upper Part of the Pavilion in the Colosseum, Regent's Park (1829)
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Relatively few of these unwieldy ephemera survive. The oldest known surviving panorama (completed in 1814 by
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Website of the International Panorama Council IPC listing all existing panoramas and cycloramas worldwide
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Cross-section of the Rotunda in Leicester Square in which the panorama of London was exhibited (1801)
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Studies in Romanticism. 45:3, 2006. Modern Language Association International Bibliography Database.
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Romanticism 2008, Vol. 14 Issue 2. Modern Language Association International Bibliography Database.
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https://archive.today/20121215042002/http://romantic.arhu.umd.edu/praxis/gothic/thomas/thomas.html
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https://archive.today/20121215042002/http://romantic.arhu.umd.edu/praxis/gothic/thomas/thomas.html
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In 1793 Barker moved his panoramas to the first brick panorama rotunda building in the world, in
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296:" was developing among the educated class, and as they toured picturesque districts, like the
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761:(Selous was the in-house painter for the original Barker panorama in London for many years.)
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After the commercial but limited technical success of his first panorama, Barker and his son
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230:. A reduced version was originally shown in their house with a larger one on display later.
670:(a.k.a. the Panorama of Jerusalem at the Moment of Christ's Death) at St. Anne, outside of
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they experienced a partial revival; in this period, they were more commonly referred to as
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was the Great Moving Panorama of Pilgrim's Progress, which was found in storage at the
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1659:. School of Historical & Philosophical Studies, The University of Melbourne. 2008
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and Charles-Marie Bouton, the latter a former student of the renowned French painter
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Thomas, Sophie. "Making Visible: The Diorama, the Double and the (Gothic) subject."
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Sophie Thomas. "Making Visible: The Diorama, the Double and the (Gothic) subject."
1600:
893:), Kjell Kolthoff and several hundred preserved animals in their natural habitats.
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of the Grand Panorama. Although in storage, highlights may be seen on the museum's
718:. A fifth panorama, also depicting the Battle of Gettysburg, was willed in 1996 to
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To fulfill his dream of a 360 panorama, Barker and his son purchased a rotunda at
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an alteration of an idea that was familiar in the hand-held landscape scrolls of
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by an eccentric amateur archaeologist named Montroville W. Dickeson.
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Miles, Robert. "Introduction: Gothic Romance as Visual Technology."
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http://www.oxfordartonline.com/subscriber/article/grove/art/T065087
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Robert Miles. "Introduction: Gothic Romance as Visual Technology."
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Haut, Asia. "Reading the Visual." Oxford Art Journal: 32, 2, 2009.
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Asia Haut. "Reading the Visual." Oxford Art Journal: 32, 2, 2009.
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Absorbing Hesitation: Wordsworth and the Theory of the Panorama.
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Barker's accomplishment involved sophisticated manipulations of
1017:"Lost Edinburgh: Calton Hill and the invention of the panorama"
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in 1877 on a 115×15-metre canvas with a 12-meter foreground.
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The panorama competed for audiences most frequently with the
564:, completed in 1881 and housed in a purpose-built museum in
635:(1911) survive, although the former was damaged during the
1827:"Unlimiting the Bounds": the Panorama and the Balloon View
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Spectacles within doors: Panoramas of London in the 1790s.
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in his house in 1788, and later in Archers' Hall near the
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an article in the Wall Street Journal dated June 27, 2012
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Mobile Cyclorama . Virtual Panoramic 360° View Paintings
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Ed. Robert Miles. 2005. Praxis Series. 31 January 2010.
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Ed. Robert Miles. 2005. Praxis Series. 31 January 2010.
259:, and made a fortune. Viewers flocked to pay a stiff 3
1597:"Bund greift Gottfried-Keller-Stiftung unter die Arme"
560:. Another rare surviving great-circle panorama is the
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In 1792 he used the term to describe his paintings of
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Ed. Robert Miles. 2005. Praxis Series. 31 Jan. 2010.
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Ed. Robert Miles. 2005. Praxis Series. 31 Jan. 2010.
552:, depicting an average morning in the Swiss town of
129:, 18th copy of an original from the 12th century by
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Gothic Technologies: Visuality in the Romantic Era.
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Gothic Technologies: Visuality in the Romantic Era.
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Gothic Technologies: Visuality in the Romantic Era.
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Gothic Technologies: Visuality in the Romantic Era.
832:(1807–1882). The panorama stands about 1.4 m (
1802:: a semi-circular view in hand watercolored prints
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793:Grand Panorama of a Whaling Voyage Round the World
32:(1880–1881), with false terrain in the foreground.
1657:eMelbourne - The Encyclopedia of Melbourne Online
66:, panoramic paintings are an important subset of
1781:The Panorama and Related Exhibitions in London.
1563:. New Jersey: Princeton University Press. 1983.
292:("Nature at a glance"). A sensibility to the "
1735:New Jersey: Princeton University Press. 1983.
1627:"Only Melbourne Cyclorama of Early Melbourne"
16:Massive artwork with an all-encompassing view
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1042:"The panorama of Edinburgh from Calton Hill"
587:An exhibition "Panoramania" was held at the
127:Along the River during the Qingming Festival
73:Along the River During the Qingming Festival
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627:'s great panoramas, those depicting the
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248:London from the Roof of the Albion Mills
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1783:M. Litt. University of Edinburgh, 1976.
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78:Ten Thousand Miles of the Yangtze River
1753:The Panorama: History of a Mass Medium
1691:New York: Harry N. Abrams, Inc., 1999.
1603:/sda. 23 November 2011. Archived from
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171:Panorama of Edinburgh From Calton Hill
141:", a portmanteau of the Greek words ‘
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1800:Panorama of London from Albion Mills
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107:, 12th-century Song dynasty painting
1573:Claude Lapaire (14 November 2006).
1381:Oxford Art Online. 9 February 2010.
425:In Britain and particularly in the
382:Battery at Borodino, a fragment of
864:Ópusztaszer National Heritage Park
639:and the latter was transferred to
454:Henri Félix Emmanuel Philippoteaux
14:
556:. As of today it is owned by the
285:Long View of London from Bankside
43:of a particular subject, often a
1817:Garibaldi & the Risorgimento
662:Five large panoramas survive in
591:in the 1980s, with a catalog by
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28:village, a small section of the
948:Trans-Siberian Railway Panorama
780:wrote about the restoration in
460:Romantic criticism of panoramas
918:International Panorama Council
694:'s Panorama of the Garden and
568:, showing the dunes of nearby
101:Panorama of a half section of
1:
1048:. The University of Edinburgh
883:Biological museum (Stockholm)
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655:, depicts the events of the
149:’ (view), was coined by the
1575:"Gottfried Keller-Stiftung"
558:Gottfried Keller Foundation
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1768:Scott Wilcox. "Panorama."
1633:. Ripefruit Media Co. 2016
789:New Bedford Whaling Museum
769:long and was commissioned
700:Metropolitan Museum of Art
637:Siege of Sevastopol (1942)
157:in 1787. While walking on
1711:1988 (exhibition catalog)
852:Arrival of the Hungarians
104:Night Revels of Han Xizai
1806:Museum of London website
688:Gettysburg, Pennsylvania
524:such as depicted in the
342:Pierre Prévost (painter)
290:La Nature à Coup d' Oeil
222:completed a panorama of
1684:New York: Belnap, 1978.
1653:"eMelbourne Cycloramas"
1227:Comment 1999, pp. 23–25
745:now the Saco Museum in
599:, currently located in
452:, Charles Langlois and
364:and also the battle of
1796:: Edinburgh's panorama
1254:Comment 1999, p. 55-56
938:Panorama (perspective)
855:, a vast cyclorama by
751:Jasper Francis Cropsey
720:Wake Forest University
668:Cyclorama of Jerusalem
387:
338:The Battle of Waterloo
328:
238:
215:
193:
33:
1779:Scott Barnes Wilcox,
1689:The Painted Panorama.
1538:Miles 2005, pp. 14–15
1327:Thomas 2005, p. 13-14
1313:Thomas 2005, p. 12-13
816:28 March 2017 at the
759:Henry Courtney Selous
755:Frederic Edwin Church
533:The Painted Panorama,
386:'s panoramic painting
378:
314:
236:
210:
204:, as "The Panorama".
191:
41:all-encompassing view
24:
1682:The Shows of London.
1189:Comment 1999, p. 182
1175:Comment 1999, p. 161
1136:Comment 1999, p. 7-8
778:Judith H. Dobrzynski
766:St. Louis Art Museum
710:, which depicts the
696:Palace of Versailles
684:Battle of Gettysburg
676:Gettysburg Cyclorama
617:Battle of Stalingrad
615:. A panorama of the
304:flood the canvases.
1714:J. Jennifer Jones.
1510:on 15 December 2012
1350:Meisel, 1983, p. 62
1292:Comment 1999, p. 58
1278:Comment 1999, p. 57
1266:Comment 1999, p. 56
1245:Comment 1999, p. 53
1236:Comment 1999, p. 25
1154:Comment 1999, p. 24
1109:Comment 1999, p. 23
1090:on 15 December 2012
1006:Comment 1999, p. 19
874:by the Hungarians.
733:In the area of the
629:Siege of Sevastopol
613:Kościuszko Uprising
609:Battle of Racławice
548:) is on display at
540:Surviving panoramas
416:Jacques-Louis David
37:Panoramic paintings
1852:Visual arts genres
1749:Stephan Oettermann
1607:on 8 December 2014
1479:Jones 2006, p. 364
1449:Ellis 2008, p. 145
1415:Jones 2006, p. 360
1406:Thomas 2005, p. 20
1397:Ellis 2008, p. 142
1304:Thomas 2005, p. 11
1218:Thomas 2005, p. 14
1209:Meisel 1983, p. 62
1163:Thomas 2005, p. 10
1127:Ellis 2008, p. 144
830:Giuseppe Garibaldi
633:Battle of Borodino
597:Racławice Panorama
526:Battle of Waterloo
486:William Wordsworth
388:
329:
239:
220:Henry Aston Barker
216:
194:
34:
1770:Grove Art Online.
1687:Bernard Comment,
1529:Miles 2005, p. 18
1488:Miles 2005, p. 14
1461:Haut 2009, p. 314
1433:Jones 2006, p.360
1424:Wilcox 2007, p. 1
1379:Grove Art Online.
1341:Wilcox 2007, p. 2
712:Battle of Atlanta
708:Atlanta Cyclorama
619:is on display at
442:"moving" pictures
325:Rudolph Ackermann
189:
1859:
1794:"The 'Panorama'"
1680:Richard Altick,
1669:
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1577:(in German). HDS
1570:
1564:
1559:Meisel, Martin.
1557:
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1506:. Archived from
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1086:. Archived from
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872:Carpathian Basin
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800:
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772:
728:Battle of Shiloh
716:Atlanta, Georgia
680:Pickett's Charge
580:, depicting the
280:Wenceslas Hollar
257:Leicester Square
243:Leicester Square
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118:
94:
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1731:Martin Meisel.
1722:Gabriele Koller
1694:Markman Ellis.
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923:Moving panorama
899:
887:Bruno Liljefors
842:
838:
835:
833:
818:Wayback Machine
805:
801:
798:
796:
773:
735:moving panorama
657:Siege of Plevna
645:Pleven Panorama
641:Poklonnaya Gora
562:Panorama Mesdag
546:Marquard Wocher
542:
536:experience it.
462:
432:Moving Panorama
212:Robert Mitchell
181:
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57:Romantic poetry
30:Panorama Mesdag
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1788:External links
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724:North Carolina
692:John Vanderlyn
621:Mamayev Kurgan
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1733:Realizations.
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1808:Panoramania!
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1709:Panoramania,
1708:
1695:
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1661:. Retrieved
1656:
1647:
1635:. Retrieved
1630:
1621:
1609:. Retrieved
1605:the original
1601:Der Landbote
1591:
1579:. Retrieved
1568:
1561:Realizations
1560:
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1508:the original
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1088:the original
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1050:. Retrieved
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1021:The Scotsman
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857:Árpád Feszty
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811:conservation
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131:Zhang Zeduan
126:
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36:
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26:Scheveningen
18:
1755:(MIT Press)
1514:21 February
1094:21 February
774: 1850
747:Saco, Maine
682:during the
672:Quebec City
631:(1905) and
513:The Prelude
496:The Prelude
491:The Prelude
294:picturesque
276:perspective
159:Calton Hill
1841:Categories
1705:Ralph Hyde
1675:References
1611:5 December
1581:5 December
678:depicting
593:Ralph Hyde
574:an example
401:cycloramas
137:The word "
68:handscroll
1724:, (ed.),
1663:16 August
1637:16 August
933:Myriorama
928:Mareorama
908:Cyclorama
903:Cinéorama
566:The Hague
528:in 1816.
484:The poet
358:Jerusalem
354:Amsterdam
265:panoramic
261:shillings
226:from the
198:Edinburgh
163:Edinburgh
125:Panorama
45:landscape
1376:Panorama
897:See also
814:Archived
706:and the
653:Bulgaria
623:. Among
589:Barbican
578:Waterloo
321:aquatint
167:panorama
153:painter
139:panorama
51:and the
868:Hungary
841:⁄
804:⁄
698:at the
601:Wrocław
408:diorama
384:Roubaud
380:Raevsky
175:Meadows
84:History
1052:16 May
1026:16 May
860:et al.
824:pages
822:Flickr
757:, and
674:; the
666:: the
649:Pleven
643:. The
605:Poland
595:. The
582:battle
520:them.
366:Wagram
362:Athens
350:Naples
224:London
202:London
147:horama
49:Europe
954:Notes
714:, in
151:Irish
64:China
1776:>
1665:2016
1639:2016
1613:2014
1583:2014
1516:2010
1096:2010
1054:2018
1028:2018
881:The
849:The
764:The
554:Thun
346:Rome
143:pano
76:and
866:in
722:in
702:in
686:in
647:in
323:by
282:'s
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