structed, that as it revolves, it shuts || pious in his account of the magnifi

up one view, and exposes the other. cence of this cathedral. The inteThe next view in this Diorama is rior of the chapels was most scanthat of the Interior of Canterbury || dalously defaced by the fanatical rage Cathedral; and the part of the ve- of 1642; but the durability of the nerable pile exhibited is the Chapel great materials of the architecture, of the Trinity. It is in a rich Gothic and the solidity of the Gothic ornastyle of architecture. The columns ments, defied the sacrilegious rage that divide the nave from the aisles of the assailants, who fired, accordare composed of three compartments, ing to Doctor Paske, one of the rethe lower one being formed of three sident prebendaries of the time, repillars joined together. The win- peated discharges of musketry withdows are of large dimensions, and in and without the building. The of modern structure, with some ex- fine architecture of Trinity Chapel ceptions, in which curious remains of is accurately represented at the Diold painted glass are still preserved. orama: the admirable correctness of The upper extremity of the cathe- the perspective, and the manner in dral is occupied by four tombs, which which the parts of the aisles and are erected in the intervals between nave in the distance are developed; the pillars. The nearest monument again, the novel distribution of light. on the right of the spectator is that upon the picture, and the transpaof Edward the Black Prince. There rency of the painted glass, present are also the tombs of Henry IV. and a combined effect, the most absolutehis queen, of Odo de Coligny, Bishop ly illusive ever produced by the imelect of Beauvais, and Dean Woot-proved powers of art. Turn which ton; and at the further extremity of the chapel is the chair for the enthronement of the archbishops. In the fore-ground the artist has painted some masons' tools, fragments of marble, timber, &c. as if placed there in prosecution of repairs, and to aid the general effect.

This cathedral is peculiarly well adapted for pictorial effect: it is entirely vaulted with stone, and before it was exposed to the barbarous fury of Cromwell's soldiers, it contained in stained glass and other decorations some splendid examples of its magnificence in the time of Becket. It was these ornaments that Erasmus said "all shone, sparkled, and glittered with rare and very large jewels; and even in the whole church appeared a profuseness above that of kings." Dugdale is equally co

way we will in this exhibition (we almost forgot that by the rotatory motion of the saloon we need not turn at all), it illustrates Pope's line,

"Soft illusions, dear deceits arise;"

and justifies the expectation of the proprietors, that their work" will be considered as the triumph of perspective, and the ne plus ultra of pictorial illusion."

It is due to the inventors and introducers of the Diorama to say, that the principle is borrowed from the French. About eighteen months ago the Diorama was constructed at Paris upon the present plan. The saloon of that erected in the Regent's Park is larger than the Parisian, and capable of conveniently accommodating two hundred persons: it revolves in somewhat of a different manner from the French saloon, al