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FINE AR TS.

ALLOM’S PANORAMA 0F CONSTANTINOPLE.

This panorama will be opened to-day to the public
in the Theatre adjoining the Polytechnic Institution,
where were recently exhibited Allen’s Views on the
South Western Railway.

It is one of very unequal merit, some parts being
very good, others either indifferent or beneath medio-
crity. This is clearly the result of starting with too
scanty materials for a monster panorama, and often
entrusting these to second-rate hands. For though
this panorama has seemingly but one patrony-
mic, it is easy to distinguish opposite styles.
The architectural department, whether of interiors of
the exteriors of buildings, is as decidedly superior as
the other parts are faulty; in the first we recognise
the practised design, the neat finish of style, and
dexterous disposition of lights and shades, for which
Mr. Allom has a well-deserved repute; in the latter,
the limning but feebly sustains comparison. The
landscape is untrue in tone; the skies are sultry, and
laden with thundering clouds, which would at once
swamp the ill-constructed fleets in the pictorial
Dardanelles. By condensing the Dardanelles
and the Bosphorus, which form the first
part of the panorama, an excellent volume
might be made; as along the coast from Cape
Greco to the sweet waters of Asia, there are few ob-
jects of earthly interest, the plains of Ilium even
failing to raise enthusiasm. The “Sultan’s Kiosk,”
however, may be excepted; its gardens, fountains,
and pretty grouping of Turkish women produced the
effect of an oriental Watteau, in its rich harmony of
colouring, which was presently contrasted by a good
shady landscape of the groves of Therapia; the pas-
sages from one subject to another being skilfully map
naged. In thesecondjpart. the light shifts to the opposite
side and shows the whole of Constantinople, with
little aim at strong contrasts of light and shade. Mr.
Allom is great in mosques: he likes their swelling
domes, and fine-spun minarets, and all the bizarre
effects of Moorish architecture; his structures rival
in animation the bits of humanity he peoples them
with: witness the “ Cemetery and Mosque of Eyoub,
and its vanishing perspective of pillars.” The re-
maining views consist of the “ Golden Horn,” the
" Subterranean Palace,” theinterior of “Saint Sophia,”
which in its different orders is akin to the old Ro-
man temples of the “ Sublime Porte,” and its
quaint broad-brimmed fountain, and lastly the get—
dens of the seraglio, and the interior of the harem,
provokingly like the renaissance style to which Mr.
Allom is so partial. Not the least effective scenes are
the humorous ablutions of the Turkish bathers. From
the title of “ Polyorama,” which is conspicuously in-
scribed over the doorway, as well as from the last
words of the describer, more panoramas may be ex-
pected from the same hand. } c; r- .y .'