The Lost Panoramas of the Mississippi

By John Francis McDermott | Go to book overview

NOTES
[NOTE: The complete citation for each reference will be found in "Sources Consulted," pp. 197-204 below.]
CHAPTER 1
1. Bapst, Essai sur l'histoire des panoramas et des dioramas, pp. 7-10, 13-17. Philip de Loutherbourg as early as 1781 opened to the English public his Eidophusikon, but this was no more than "a sort of panoramic moving peepshow," not comparable to the Barker-type panorama (Waterhouse, Painting in Britain, p. 234).
2. Bapst, pp. 19-22. For Daguerre's share in the development of these forms see, particularly, Gernsheim L. J. M. Daguerre, pp. 5-6, 13-45.
3. For a discussion of these effects see Williams, Transparency Painting on Linen, pp. 42-44 (effects of distance) and 44-52 (painting and lighting of dioramas). He said in part: "The sky and distance being seen through two transparent surfaces have their tints modified and softened, insomuch, that a surprising aerial effect is obtained. The objects also, on the second surface, being seen through the first, maintain their tone of middle distance, and the boldness of the foreground objects on the front surface, secures for the combined subject a powerful and truthful appearance." In Germany three surfaces were used, foreground, middle distance, and extra distance and sky. "By such arrangements, very successful effects of moonlight, of winter scenery, and of fire, are obtainable. In some instances, portions of the middle and back surfaces are cut away, in such forms as will admit of light being thrown on particular spots on the front surface, in order to

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