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THE MIRROR OF LITERATURE, AMUSEMENT, AND INSTRUCTION.
A. Column or Tower in the centre of the building, for supporting the Ascending Room, &c.
B. Entrance to the Ascending-Room.
C. Saloon for the reception of works of art.
D. Passage lending to the Saloon, Galleries, and Ascending-Room.
E. F. Two separate Spiral Flights of Steps, leading to the Galleries, &c.
K. Refreshment-Room.
L. Rooms for Music or Bells.
M. The Old Ball from St. Paul's Cathedral.
Mr. Hornor, in his colossal undertaking, has "devised a mean" to draw us out of the way; and a successful one it has already proved. As a return for the interest which his enterprise has excited, we are, however, induced to present its details to our readers, as perfect as the limits of the MIRROR will allow; and for this purpose we have been favoured by Mr. Parris with the drawing for the annexed cut.
Besides furnishing the reader with the construction of the apartments, galleries, and ascents of the interior, the engraving presents some idea of the scaffoldings, bridges, platforms, and other mechanical contrivances requisite for the execution of the picture.
The spiral staircase, it will be seen, leads to the lower gallery for viewing the picture. Unconnected with the intermediate gallery, there is a communication from the lowest gallery to the highest, and thence to the refreshment-rooms and exterior of the dome. The ascent to the second price gallery is by a spiral staircase under those already mentioned. The column, or central erection, containing these staircases and the ascending-room, is of timber, with twelve principal uprights seventy-three feet high, one foot square, set upon a circular curb of brickwork, hooped with iron, and further secured by bracing, and by two other circular curbs, from the upper one of which rises a cone of timbers thirty-four feet high, supporting the refreshment-rooms, the identical ball, and model of the cross, of St. Paul's, Mr. Hornor's sketching cabin, staircase to the exterior, &c. Without the circle of timbers already described, is another of twenty-four upright timbers; and between these two circles the staircases wind. The architectural fronts of the galleries form frame-works, through which the spectator may enjoy various parts of the panorama, as in so many distinct pictures.
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