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Cornell University Library 1993.DESCRIPTION
OF THE
OLOSSEUM,
BROADWAY, 35th AND 36th STREETS, NEW YORK.
THE LARGEST IRON
STRUCTURE IN THE WORLD.
A HISTORY OF
THE WORLD RENOWNED CYCLORAM AS,
EACH COVERING AN ACRE OF CANVASS,
OF
London of 1828, by Daylight,
BY E. T. PARRIS.
Paris by Moonlight.,
AND	'
London of 1873, by Night,
PAINTED BY DANSON & SONS.
TO BE FOLLOWED BY PARIS OF 1873.
NOW FIRST INTRODUCED TO AN AMERICAN PUBLIC. ALSO AN EXTENSIVE AND
CURIOUS COLLECTION OF WORKS OF ART, OBJECTS OF HISTORIC INTEREST,
YL. '- WONDERS OF SCIENCE AND MECHANICS, OPTICAL ILLUSIONS, .	'
AUTOMATIC MARVELS. MUSICAL NOVELTIES, WHICH
TOGETHER WITH THE ENTERTAINMENTS OF
THE LECTORIUM,
Under the direction of Prof. TOBIN, lute of the Polytechnic, London,
WILL FORM THE MOST NOVEL, PLEASING, MORAL AND INSTRUCTIVE
EXHIBITION EVER ATTEMPTED IN AMERICA.

L KENNARD, -	-	-	- Sole Proprietor.
T. BARNUM, ....	Director.

(PTHE
GAS LIGHT EFFECTS,
USED IN THE COLOSSEUM ARE FROM THE CELEBRATED
HOUSE OF
GEO-H. KITCHEN & CO.
G A. 8 I? I ISC T IJ R E 63,
AND SOLE MANUFACTURERS OFJERE. JOHNSON, JR.,
AND DEALER IN
^i'^y
No. 21 PARK ROW, N. Y.
His long experience and unequaled success in
SUBURBAN AUCTIONS .
in the vicinity of New York and elsewhere, has induced him to make them a specialty, and enables
him to offer unusual advantages to parties who desire their property Surveyed, Sub-divided, Developed
and Thoroughly Written Up, Advertised and Sold, in the most tasteful, economical, MODERN STYLE.
His force of engineers, artists, writers and operatives in the several departments is complete, and
Real Estate owners in the neighboring cities wishing to dispose of their property on the NEW YORK
PLAN, or Suburban dealers in New York will receive prompt attention.
UBERAL ADVANCES MADE ON CONTRACTS.
City and Country Property Sold, Rented, or Exchanged.
BONDS AND MORTGAGES NEGOTIATED. CITY PROPERTY AT PRIVATE SALE, OB
AUCTION, AT THE NEW YORK OR BROOKLYN EXCHANGE.DESCRIPTION
OF THE
COLOSSLUM BULntNG.
LA) CORRECT idea of this immense structure which has for the past year, during its
erection, excited the wonder and admiration of the passing public, cannot, perhaps,
be better obtained than from the complete and exhaustive description found in the official
report by the Inspectors of the Department of Buildings of the City of New York, which
we are permitted to copy entire from the records :
NEW YoRK, January i, 18%.
WALTER W. ADAMS,
!SiR: In accordance with your order upon the completion of the iron struc-
ture known as The Colosseum, erected on the block situated on Broadway and 35th and
36th streets; New York, we have made a careful survey and have the honor to report the
following: The owner is R. L. Kennard, of London ; the designs and plans
by Mr. JOHN CRUMP, of Philadelphia ; (who was also the contractor and
superintendent), and is the largest iron building in the country. The general
construction is of heavy stone and brick foundation, capped with granite. The
superstructure of wrought-iron framework, covered with corrugated iron; the facade on
Broadway and 35th street, is of ornate galvanized iron; the roof is of timber, trussed and
resting on the outer walls and inner tower ; the tower and cornices are of iron and^tin; the
building is lighted by a glass dome 108 feet in diameter by 120 feet over ; the promenade
between the tower and outer walls is 27 feet wide by 300 feet long and 24 feet high,4

lighted by 1,740 square feet of glass sky-lights ; the circle being made by 16 highly ornate
columns and 16 pilasters, forming 15 alcoves on either side, gives the entire width of
promenade 43 feet. The Colosseum building, including the altered stores and dwellings,
with the fron tower, occupies 211 feet on Broadway, 221 feet on 35th street, and 200 feet
on 36th street. The plans submitted to the Department for the alteration of the buildings
have been properly complied with, and the Iron Colosseum reRects credit upon the liberality
of the owner, and the boldness and skill of the architect under whose immediate superin-
tendence the entire work has been accomplished.
It is a novelty in the building art, rendered necessary by the purposes for which
'it is intended, viz., the exhibition of the somewhat famous historical Cyclorama of
D^y, painted by E. T. Parris in 1828, and exhibited in London for over 40 years ;
the painting, covering over 40,000 square feet of canvas, represents London as it appears
from the dome of St. Paul's Cathedral, and must, therefore, be stretched in a circle around
the observer, who views it from a great elevation. The original Royal Colosseum in
Regent Park, was of brick and wood ; the present one is of iron, and the largest structure
of the kind in the world. The estimated cost, with the decorations, is over $250,000.
THE BuiLDiNG is cylindrical, 150 feet in diameter outside, and 80 feet in height from
curb to line of the cornice, and 75 feet perpendicular height—the highest single room in
America. .In the center is a tower 38.6 feet in diameter, and 140 feet in height.
THE OUTER WALLS are constructed of a framework composed of posts of 3^ by 3^
inch T iron, set upright on a radial line from center, 6 feet apart at the base, and 3 feet
at the top; at intervals of 7 feet 6 inches apart, similar iron bars are strongly bolted across
therp like the rungs of a ladder ; 32 of these principal iron ladders are similarly placed
on radii of a circle facing each other and 15 feet apart, with 32 intermediate ones at 7 feet
6 inches apart. These are tied together with similar iron bars, strongly bolted and securely
braced in all directions. The outside of the framework, 450 feet in circumference and
75 feet in height, is covered with corrugated iron.
THE TowER in the center, is constructed with 16 ladders of the same material and
similarly secured, set on the radii a cylinder 38 feet six inches in diameter, and 75 feet in
height. On the top of the tower is an observatory with 12 windows surrounded by a
balcony six feet wide, securely railed, whence 100 persons may, at one time, safely obtain
an entire and comprehensive view of the city and vicinity of New York; and, inasmuch
as the ascent to the tower is made by means of an immense steam elevator, supplied by
Otis Brothers, of N. Y., capable of carrying 40 persons, the tiresome penalty of climbing
stairs that one usually pays for such landscapes, is avoided. Within the framework of the
tower is an iron staircase 7 feet wide, winding around the inner walls to a platform 60
feet above the promenade, whence " London can be viewed by 500 persons," comfortably.
To intercept the direct light through the dome from the observer, this platform is surrounded
overhead by a canopy of wood and iron; and, to conceal the base of the picture, and as a
roof to the promenade, an apron, also of wood and iron, representing the roof of St. Pauls,
surrounds the tower below the platform. The building is heated by six hot-air wrought-
iron furnaces, securely set in stone, and radiating heat to all parts of the building by
means of 40 registers, also properly protected against fire.
The iron superstructure rests upon brick piers 18 inches by 6 feet 8 inches thick,
capped with granite, in accordance with the plans submitted and approved by the Depart-
ment, and the additional braces in the framework, ordered by the Inspectors, have been
supplied. In order to ascertain the power and strength of wrought-iron under circum-
stances so novel and unusual, and place the security of such a vast structure beyond all
question, a series of experiments were instituted at the Phoenix Iron Works, the result
of which showed that the sustaining power of each ladder, thus constructed was 141 tons
and 740 pounds, and of the 32 ladders and the outerwall, a power of 6,785 tons; the
strength of the 16 ladders of the tower, 465 tons more, without computing the strength
of the corrugated iron or the power of the cross-braces, in all a sustaining power of
7,250 tons.
THE R00F, of timber, composition and slate, weighs 200 tons. The probable number
of persons on the tower or stairways, say i,coo, would weigh 75 tons ; possible snow load,
170 tons; the wind, at the heaviest blow, 27 tons; the two pictures about 20 tons; in
all, an antagonistic force of but 465 tons against 7,250 tons of resistance.
The entire building may be considered as substantially and securely completed, and
the hazards from Are and accident far less than usual in public ediAces ; even the pictures
being composed chieAy of lead and earthy pigments from which oils, &c., have long since
dried out, are incombustible. Nevertheless, the usual safeguards against Are accidents,
as water-buckets, axes, Are-plugs, hose, &c., have been ordered by us, and will be duly
supplied. The means of exit, in case of Are, are ample, being by a 20-foot hall to
Broadway, and by 6-fbot passage-ways to 36th and 35th streets.
THE FURNITURE AND DECORATIONS of this magniAcent structure are of the most
tasteful and costly description, and the appliances for the comfort and entertainment of
the public on a scale of splendor and beauty never before attempted in this country. It
is but just to express our high encomiums upon the boldness of the conception and
excellence of the execution of this work.
6
B%2/<7%'72g\
THE PoRTE CocHERE, or grand facade on Broadway, enclosing an entrance 20 feet
wide, the Ticket Offices, a Lectorium, and offices above, are of brick, faced with
ornate, galvanized iron, by Jacob Wrey Mould, of New York. The wrought-iron was
supplied by A. R. Whitney & Bros., New York, and the work by Messrs. Deverney,
White & Hetzerotte, of Philadelphia. The corrugated iron from the McCullogh Iron
Co., of Philadelphia ; cast-iron by J. L. Jackson & Bro., N. Y. ; galvanized iron, George
Fischer, N. Y. ; glass, B. H. Shoemaker, Phila. ; heating apparatus, T. Dixon & Son,
Phila. ; slate roof, E. Van Orden & Co., N. Y.; tin work, M. Fitzsimmons, N. Y. ;
painting and glazing, Wm. Preece, N. Y. ; plastering, A. Jones, Brooklyn; masonry,
Messrs. Conda & Swartwout, N. Y.; gas-fittings, G. H. Kitchen, N. Y.; fresco decora-
tions, R. Gladhill, N. Y.; elevators, Otis Bros., N. Y. The master machinist was C. F.
Brown, of the Royal Colosseum, London, engaged expressly for the purpose.
Respectfully submitted,
SAM'L SILSBEE,
<772^ A/Y/Y 7?%/Y<a%7%g'.y.
HENRY J. DUDLEY,
<272<7	<7/*
J. W. DIKEMAN,Interesting Historical Reminiscences.
\^)ERHAPS no exhibition in the world has ever excited more genuine admiration or
JL more universal interest than the wonderful picture of LONDON BY DAY, and
the immense novel structure known as the RoYAL COLOSSEUM, erected in 1828, in Regent's
Park, London, for the purpose of exhibiting it. Millions of persons from all nations,
during forty-five years, have been awed by the grandeur of its conception, and marvelled
at the artistic accuracy of its execution, until the Colosseum became a household word
with Englishmen, and the great picture one of the	to all foreigners.
Strangers in the great metropolis, after visiting its wondrous buildings and innumerable
objects of curiosity and interest that are endeared to the world as historic landmarks on
the highway of human civilization, who desire to connect their detailed information, and, as it
were, complete their knowledge in a grand connected summary, can only accomplish it by
a bird's-eye view of the gigantic landscape. Such a view is theoretically attainable from
&. Azz/'j	We say theoretically, for practically, the prevalence of
fog and the vicissitudes of weather in London, renders a clear extended view of the city
and vicinity an unusual circumstance. Besides, were the skies serene and atmosphere
favorable, one is obliged to climb 534 steps even to the front gallery over the Dome, and
82 additional steps to the ball and cross in order to obtain a view such as presented by
this picture in all the grandeur and wonder of detail, and under all the appliances of bright
sunshine and clear atmosphere. The sublimity and beauty of the boundless ocean and the
awful grandeur of mountain scenery, have been immortalized in prose and verse from
Homer to the present day, but no words may picture, no pen portray, the astounding reality
of a great city of millions of human souls, with all their accumulated labors and architec-
tural attainments of thousands of years literally spread out before you in minute detail;
countless churches, bridges, halls, palaces and dwellings, each rich with the history of the
ages and the people who have, like us, busied themselves with the bustle and cares, the pur-8

suits, occupations and efforts of a brief life and passed away, leaving these piles of stone,
brick, wood, and iron, as the heritage of those that came after them.
" So the multitude goes, like the Rower or the weed,
That withers away to let others succeed.
.	So the multitude comes, even those we behold,
To repeat every tale that so oft hath been told;
For we are the same that our fathers have been ;
We see the same sights that our fathers have seen;
We drink the same streams, and we see the same sun,	)
And we run the same course that our fathers have run."
To those who have seen and are familiar with London, this	has for
forty years been a continued and increasing subject of study and delight, while no foreigner
considered his traveled education complete who failed to visit the RoYAL CoLOSSEUM.
Such, indeed, was the startling novelty and astounding magnitude of both the building
and the painting, that critics and artists were alike powerless before the vast Cyclorama.
Histories, poems, maps, pictures and descriptions were tame and incomplete when compared
with the miraculous achievements of art, whereby, within the compass of Ar/y
<?	of the most interesting and
LARGEST CITY IN THE WORLD,
were obtained at a glance, and its details studied and examined at leisure, and under the
most agreeable circumstances and surroundings.
Since 1828, the newspaper press of the civilized world have apparently emulated each
other in the description of this really EIGHTH WONDER OF THE WORLD, and were it pos-
sible to collect the editorial notices of the English press, together with the descriptive letters
of newspaper correspondents from every country where newspapers are known, and print
them in books, they would comprise a library. Inasmuch as the leading journals of Europe
have pronounced the Colosseum and picture to be "works of such magnitude and singu-
larity as to defy the powers of description and bafHe all attempts at correct representation
through the medium of language," we are not vain enough, or bold enough, to essay where
they have failed; yet,l72%?W/272g* H*2J/Pr2?<%/ jR^/722722J^/2^J.	Q
THE AMERICAN PUBLIC,
being less familiar with the facts, we will present a brief outline sketch of the original
Colosseum and the great picture, as compared with the more modern, costly and MAGNIFI-
CENT IRON STRUCTURE just completed in New York City, at a cost of over One-fourth of
a, Million, for the national exhibition of the original old Ap72<7<7%	sketched by Thos.
Hornor and painted by E. T. Parris; the equally marvellous and magnificent historical
Cyclorama illusion, by Danson & Sons, of
PARIS BY MOONLIGHT,
and the still more interesting Cyclorama, also by the same artist, of
MODERN LONDON BY NIGHT.
In these miracles of art, the illusion that one is looking down from a great height
upon an illuminated city is absolutely perfect. The beautiful effects of moonlight, storm
and lightning, are presented with such extraordinary fidelity, that nervous and sensitive per-
sons find it difficult to preserve their equanimity. The wondrous comparison between
London of 1828, and London of 1873, presents an extremely interesting history of the
march of improvement in the great city.
The history of the magnificent picture of London by Day, during the 45 years since
its conception and execution, reads now almost like a romance. The area covered by the
perspective is seven miles square, or about 130 miles. The area of the painting itself,
40,000 square feet, or nearly an acre of canvas. The Camera Lucida sketches taken by
Mr. Hornor in 1821-2 and 3, from an eleveted platform above the cross of St. Paul's
Cathedral number 280, and cover a surface of 1680 square feet of drawing paper. These
sketches were combined by Mr. E. T. Parris, who painted the original picture first
exhibited January 17th, 1829, in the immense structure erected in Regent's Park for the
purpose., called the Colosseum. So great was the public interest in the boldness, grandeur
and novelty of this wondrous work of art, that at one guinea admissions for four persons,
over 10,000 visited it during the first three days. The profits of the first 'four years were
The difficulty of completing the work on a
cylindrical surface from sketches on a flat perspective, were great, and artists were actually
educated for the work. The sketches of distant objects were necessarily indistinct, and in
order to reproduce them upon the canvas so as to bear the test of the telescope, each sketchIO

was verified by architectural drawings made on the spot by a corps of competent artists who
spent months in the work. For example, the 72^	comprises goo square feet of
painting, and when viewed by the observer on the tower, through a glass, is found to be
perfect in every architectural detail. And so with distant views—the rigging on the vessels,
persons in windows, and even dogs, children, carts and objects in the streets not visible to
the naked eye, are rendered plainly observable by the telescope. Indeed, the marvellous
illusion that one is yiewing the	A#72<3?<772 from St. Paul's Cathedral, that for nearly
half a century has filled the world with admiration, is further confirmed by the extraordinary
faithfulness of the drawings.	^2/^272^ %2j?pr2f	every vicinity of note,
for 20 miles around London, is so accurately portrayed that a stranger might study and
acquire the detailed and correct topography of the city from the platform of the tower in
the Colosseum. Space will not permit further description. The estimation in which the
great work of art is held by the English press may be partly estimated from the following
articles from London Papers.
THE LONDON REVIEW,
Of Politics, Society, Literature, Art, and Science,
CONDUCTED BY CHARLES MACKAY,
(August 22, 1863.)
HpHE Colosseum, with all its strange history, commenced with decided success, and notwithstanding
JL the heavy loss said to have been incurred by Braham, the singer, during his lease, it is very doubt-
ful if at any period it has ever failed to be profitable, even while in his hands.
Mr. Hornor, its proprietor, was a land surveyor at York, who conceived the idea of making surveys
of landed estates in a pictorial bird's-eye view kind of style, which he called " pictorial surveying." A
Quaker professedly, he was in reality a compound of Barnum and Nash—as great a dandy as the one,
and as great a humbug as the other; but his " pictorial surveying" continuing to possess him, he issued
in 1823 a prospectus to obtain subscribers for engraving two views of London from the summit of St.
Paul's. The engravings were never produced; but some one having suggested one day a big panorama
of London, he thought it a capital idea, and determined to do it, and by the help of Stephenson, the
theatrical banker, and Grissell and Pato, the great contractors, and of some one else, of whom we shall
presently speak—an artist—he did it at a cost that nobody knows. Everything was superlative with
the Yorkshire surveyor. Even the camera-lucida he sketched with must be like that of no other man,
and he had it specially adapted by Carey to a telescope. To have taken a view from the dome of St.
Paul's was too lowly for the dandy Quaker architect. Blondin at six feet from the ground would not
be the Blondin Walking over the falls of Niagara, or the Blondin at a hundred feet over the fountains
at the Crystal Palace. Even the summit of the cross itself was not elevated enough for him, and so he
had a scaffold of two stories especially erected above it, and in a little sentry box, raised by ropes above
the highest pinnacle, Mr. Hornor is supposed to have worked from early dawn to setting sun, " imper-
iled by gusts of wind which blew away the planks, and* rendered it impossible for a person to stand
on the scaffold without clinging for support against the framework, the creaking and whistling of the
timbers at such times resembling those of a ship laboring in a storm." What Mr. Hornor did at the
top of^St. Paul's we will not vouch ior, but an honest and able artist, Mr. E. T. Parris, painted the11

great picture of London by day, extending over 40,000 square feet of canvas, with such care, such
pains, and such accuracy, that not only from every point of view do the streets and houses seem to ex-
tend like a real city, but an opera glass or telescope may be used to detect familiar objects in the far
and hazy distance.
On the 26th of December, 1828, Rowland Stephenson, the banker, was missing, and shortly after-
wards it became known that he had absconded. This defection of Stephenson caused a demand upon
Hornor for the expenses of the Colosseum, and within a fortnight it was opened, before the picture was
completed, but on the 10th of February Hornor was obliged to follow his absent patron. On Wednes-
day last, says the	of the 17th January, 1829, that extraordinary and magnificent build-
ing, the Colosseum, was opened to the public, and unfinished as it and its great picture were—the wish
to see it was enormous, and unequaled by anything in the theatrical world from that day to this.
Although the tickets of admission were sold at a guinea for four persons, and no single tickets, upwards
of 10,000 visited it in the first three days, and in the first four years of its existence the profits realized
were fabulous. Through many vicissitudes the Colosseum, with its wonderful picture, has lasted down
to our own day as one of the sights of London. On the absconding of Hornor, Mr..Parris naturally left off
work, but on the 2d of March he again proceeded with his labors for the trustees of Mr. Hornor's cred-
itors, and finished his panorama on the 29th November, 1829—a special letter by the trustees being sent
to him to testify their satisfaction with the picture and his honorable conduct in its execution. Such
then is the history of the great picture of London—a wonderful object to those who understand per-
spective, color, chiaro-oscuro, and other intricacies of the science of picture painting, and a mysterious
and marvelous vision to the uninitiated. The great picture has been commonly asserted to have been
made from Mr. Hornor's sketches, but the real merit and credit of the painting belong exclusively to
Mr. Parris. But however glorious the result as a picture, the chief interest to an inquiring and intelli-
gent mind rests in the indomitable perseverance and intelligence of the painter in conquering the diffi-
culties of perspective, in obtaining decisive atmospheric effects, and in devising mechanical means for
getting access to its various parts. To understand the difficulties in the perspective alone, it must be
borne in mind that the canvas of the panorama is hung in a circle, or rather lines the inside of a vast
cylinder. Now a straight line drawn on a hat surface is of course a straight line; but if the same
straight line on a sheet of paper was pasted horizontally on the inside of a cylinder, it would imme-
diately appear to the eye as a curve, and if placed diagonally in various ways, the apparent curves will
vary with every position, and not only with every position, but in themselves also, according to the
angle at which they traverse the inner face of the cylinder, the curve gradually diminishing from one
end of the line to the other. Any one may see this by looking at the edge of a sheet of paper against
a wall, and then bending it and looking at it in various positions. The moment the edge of the paper
is bent, although it is still the same straight line, it appears as a curve. Every apparent straight line,
then, in the picture of London is really a	curve, and when we gaze upon the thousands and
thousands of roofs, walls, windows, doors, palings, base-boards, and other objects composed of straight
lines, each and every one of which has had to be reduced to its	and	curve, we get the first
idea of Mr. Parris's skill. The sketch shown by Mr. Hornor, which is still in existence, is wholly in
straight lines and ruled over by equal squares of an inch each way. Now supposing Mr. Parris to have
worked entirely from Mr. Hornor's sketches, the ordinary draughtsman would consider he had only to
enlarge the squares on the great picture's canvas so many times, and then to draw in the respec-
tive portions of the view. Not so, however, in practice. The farther olf from the eye, the longer
become the squares, or rather the squares on the paper have to be transformed into parallel-
ograms on the canvas, each now getting more and more elongated towards the base of the
picture, which is the most distant part of it from the eye when seen from the gallery level with
the horizon of the picture. The light in the picture is painted from a point of sunlight on one
side, from which the shadows in all directions fall away. Even the painting of the sky was not
without difficulty, for the very form of the dome, the illumination coming from its top caused a
shadow through its central zone between the skylight and the horizon of the picture, which had to
be counteracted in the coloring. Much more that is interesting might be told of the manipulation of
this picture, but we shall have said enough to show how much, and in what remarkable respects it
differs from the many beautiful dioramas and theatrical drop-scenes painted on hat surfaces with which
we are now so familiar, and these distinctions and difficulties, so little if at all known by the public,
are the very points that render the Colosseum picture most especially worthy of description and praise.
If Mr, Parris had had any pioneer, his success would not have been surprising; but alone and unaided
he had to find out and put into execution the laws of that special perspective required for this intricate
work. Let any one look at the Post Office as represented by him, and he will scarcely believe if he do
hot deny, bur positive assertion that there is not a straight line in it from beginning to end, and that
every line has a distinct and particular curve.12

In "Paris by Night" we have a panoramic view of the French capital as it was in the revolution-
ary day of 1848, and on this account, as well as its own artistic merit, it is very interesting. It was
painted by Danson & Sons, and the clever means by which it is daily, or rather nightly, hung in front
of the Panorama of London, was devised, we believe, by Mr. Brown w hen assistant to Mr. Bradwell,
and who for twenty years has been the respected machinist of the Colosseum. Our object has not been
to describe the entertainments, but to point out the real wonder of the wonderful picture, which we
hear is having its last season in our metropolis.
This and much more was said by Charles Mackay after the picture had been exhibited for thirty-
four years. The following from the leading journals of 1829 to 1844 will show the public estimation of
the Picture at that time.
FROM THE LONDON TIMES.
August 18th, 1829.
The Colosseum, the Panorama of London, which the building was constructed for the purpose of
exhibiting, is now completed, and presents the most curious, accurate, and interesting representation of
our vast metropolis that has ever yet been executed. It would hardly be possible that a work so extern
sive, and combining such an immense variety of detail should be without fault. The picture in gen-
eral is most admirably painted, and the fidelity of the details is absolutely astonishing.
January 13th, 1829.
All of our readers who have performed the toilsome journey up the countless stairs which lead to
the top of St. Paul's, know that it is an ungrateful labor, for after all their pains they see nothing but
the roofs of the nearest houses, while the distant parts of the city and the suburbs—-only faintly indi-
cated through the smoke and fog which always hang over this mighty metropolis. The only exception
being at sunrise on a fine summer morning, at which time the cathedral is closed. The artistic labors
of Mr. Hornor and Mr. E. T. Parris for many years have, in a measure, obviated the difficulty. No ore
can look on the great picture without being powerfully excited and interested at the magnificent scene
which it displays. The effect of the nearer houses is very striking. The crowded streets Riled with
passengers and vehicles, the grand public buildings, the churches and palaces (for if we have no regal
palaces we have many others), the majestic river winding grandly along, with the shipping and vessels
of all descriptions which Roat upon its surface, the broad fertile lands studded with villas, and the
beautiful highlands as far as the eye can reach, form an assemblage of grandeur which no Englishman
can look at without experiencing, besides the qualiRcation which so admirable a picture cannot fail to
inspire, emotions of pride and delight. *	*	*	*
September, 1880.
" The Colosseum, as a building, and the panoramic picture it contains, are works of such novelty,
magnitude and singularity that they seem to defy the power of description and to bafRe all attempts
at being represented through the medium of language."
FROM THE GENTLEMAN'S MAGAZINE, JANUARY, 1829.
" The spectator is supposed to be placed in the lantern of St. Paul's, and has a view of London as
it appears on a very clear day about noon. A space of seven miles square, covered with houses and
shops of every description, churches, spires, warehouses, docks, public buildings, palaces, &c.^ inter-
spersed with the Rnest squares in the world, and traversed by the winding Thames covered with
thousands of ships, can hardly fail to excite astonishment, even in the most callous bosom. The work
is altogether novel and unique, and no undertaking upon so grand a scale has ever been attempted by
one individual."	i
FROM BELL'S LIFE IN LONDON, JANUARY, 1829.
The perfect Rdelity of the representation is astonishing. Independent of the wondrous panorama,
there are other objects of attraction in this magniRcent undertaking to excite the wonder and ad-
miration of the spectators. The admission is one guinea per ticket for four. There are no single tickets."
FROM THE MIRROR, MAY 8th, 1830.
The panorama increases in effect and interest upon acquaintance. Nothing can exceed the de-
lightful paysage of the picture. When the novelty subsides we may always amuse ourselves by noting
the addition and alteration that time and art are making to this already overgrown metropolis. The
vastness of the design astounds and the minuteness of detail never fails to delight.
FROM CHARLES KNIGHT'S PENNY MAGAZINE, OF FEBRUARY 28th, 1833.
On a Rne summer morning about four o'clock, London presents an extraordinary spectacle. The
brilliancy of the atmosphere, the almost perfect stillness of the streets, the few living beings that pass13

along those lines which in the day are crowded like some vast mart, as travelers hurrying to their distant
starting place, the laborer creeping to his early work, make up a picture which forcibly impresses the
imagination. Wordsworth has beautifully painted a portion of this extraordinary scene in one of his
finest sonnets:
Earth has not anything to show more fair;	All bright and glittering in the smokeless air.
Dull would he he of soul, who could pass by	RTever did sun more beautifully steep,
A sight so touching in its majesty.	In his first splendor, valley, rock or hill;
This city, now doth like a garment wear,	Ne'er saw I, never felt a calm so deep.
The beauty of the morning, silent, bare.	The river glideth at his own sweet will:
Ships, towers, domes, theatres and temples, lie	Dear God—the very houses seem asleep,
Open unto the fields, and to the sky;	And all that mighty heart is lying still.
How completely must Mr. Homor have felt this power from his lofty aery. What the artist saw
only in the earliest hours of a brilliant morning, visitors at the Colosseum may behold in all seasons
and at all hours of the day.
The amplitude of the crowded picture is calculated to impress the mind with a sense of surprise
and awe not unmixed with those feelings which belong to the contemplation of the vast, wonderful and
mysterious.
FROM LEIGH'S NEW PICTURE OF LONDON IN 1834.
The panorama far surpasses in extent and accuracy everything of the kind hitherto attempted.
Some idea of its size may be formed from its occupying 40,000 square feet of canvas. The various
objects are depicted as seen from the top of St. PauPs where Mr. Homor made his original sketches
when the ball and the cross were being replaced.
FROM ILLUSTRATIONS OF PUBLIC BUILDINGS OF LONDON, BY J. BRITTON, F.S.A.
AND A. PUGH, ARCHITECTS.
"The spectator sees beneath the summer sunshine of a serene sky, divested of the usual canopy of
smoke and vapor, the great metropolis, with its countless multitudes of streets and squares, its churches,
palaces, mansions, hospitals, theatres, public offices, institutions, scientific and literary, its noble river,
with its numerous bridges, and in the distance a rich and varied expanse or rural and sylvan scenery
extending from the woodlands of Kent and Essex in the east to the forest and castle of Windsor on
the western horizon; recovering from the wonder of this first view, as a whole, he finds new cause for
astonishment on perusing it in detail, for every private residence in town and country may be recognized
by the telescope."
FROM THE ART UNION, OCTOBER, 1844.
The excellent artist, Mr. E. T. Parris, who originally painted London by Day during the years 1831
and 1833, has been engaged during the past year in retouching ahd thoroughly restoring the great
painting. He has gone carefully over the whole, and given to the work those improvements resulting
from experience and careful study. The picture is now infinitely better than it was sixteen years ago,
when pronounced to be the most extraordinary production of art ever achieved in any country. When
now completed, the British public will obtain an intellectual treat second to none in the world.HENRY DEGRAAF. ROBERT M. TAYLOR. WM. H. DEGRAAF.
Degraaf & Taylor,
MANUFACTURERS AND WHOLESALE AND RETAIL DEALERS IN.EVERY
VARIETY OF PARLOR. CHAMBER. DINING-ROOM AND OFFICE
FURNITURE,
Carped, 0^
(&c., m	7?M(%e7%	prices
M PFPY COAfPFYJYJOTV.
Steamboats, Churches, Hotels, Public Halls, and Private Dwellings, Stted and furnished throughout, at short notice, on
liberal terms, at LOWEST? WHOLESALE HATES.
The taste and elegance of design, the superior finish and substantial quality of our First-class Furniture, is unequaled in
Europe, and at 30 per ccmt. less cost.
Besides many of the finest dwellings in New York, as samples of our work, we may name the Floating Palaces
of The People's Line on the Hudson River; THE NEW COLOSSELUt, N. Y.; Willards* Hotel, in Washington;
the Windsor and Brunswick Hotels, in New York.
Contracts taken and promptly Hlled in any part of the country, from $100 to $100,000. Our stocks of average and
first-class furniture always full. NEW SPRING AND PALL DESIGNS in furniture and decorations-constantly
introduced.
WARE ROOMS, 87 & 89 Bowery, 65 Chrystie St.,
and tgo and [32 Hester St. (Auunder<mer..f.)
Entrance, 87 & 8oj Bowery (2d and 3d Avenue cars pass the door).
Branch Store, 8i Fourth Avenue.
The especial attention of Dealers in the West and South, and of Hotet and House keepers
in City and Country, is called to our stocks, before purchasing elsewhere.*
The New York Colosseum.
A T"E .might go on through a period of forty-live years accumulating extracts from the English
Y y press, proud of their great city, and Riled with enthusiastic admiration for the achievements
of art, in presenting so perfect a panorama of it in her brightest, serenest, and happiest
aspect; but we have said enough to inspire an American public with a knowledge of the rare
opportunity to study the CHEF D'(EUVRE OF MODERN CIVILIZATION. One may now visiT LONDON
WITHOUT SEASICKNESS, and enjoy a panoramic view of the %0<?7^<%'g 7%6%7'(%)(?^g, in all its details, under
circumstances more favorable than could probably be attained, and without the expense and con-
tingencies of travel. But the marvelous success of London, in the olden time, by day, has inspired
the production of a	^MgM?73, if possible, still more extraordinary.
MODERN LONDON BY NIGHT, in which the improvements and changes up to 1873 are represented.
The picture is now in the hands of Messrs. Danson & Sons, and will shortly be exhibited at the New
York Colosseum.
Aby	V383&77'g, we refer them to the series of plates in the Appendix,
in which the prominent objects of interest are designated by numbers.
Upon entering the platform of the tower, which represents the dome of St. Paul's, among
the objects displayed towards the 7207^, the eye recognizes Newgate Market, the old College
of Physicians, Newgate prison, the Blue Coat School, St. Bartholomew's Hospital, Smithfield
Market, with its crowd of sheep and oxen, and the new Post OfRce. These are objects in the fore-
ground; beyond them are Clerkenwell, the Charter House, and the lines of Goswell and St. John's
streets, Pentonville, Islington, and Hoxton. In dhe next or third distance, we descry Primrose Hill,
the noted Chalk Farm, Hampstead, and a continued line of fine wooded and wild hills, to Highgate.
The bold archway and excavated road at the latter place, and the line of the great North road from
Islington to Highgate, is clearly to be traced; whilst Stamford Hill, Muswell Hill, and part of Epping
Forest and portions of Essex, Hartfordshire, and Middlesex, bound the horizon. To the e<3g% is dis-
played a succession of objects, all differing from the former in effect, character, and associations.
Whilst that view exhibits the quiet, the rural, the cheerful scenery of the environs of London, this
presents us with the immense bustle and business belonging to the ever-flowing Thames, the commerce
depending thereon, the massive warehouses and spacious docks constituted for the storage and security
i6
of imported articles of luxury, utility, and wealth, from all parts of the globe. In the immediate fore-
ground is St. Paul's School, whilst the lines of Cheapside, Cornhill, Leadenhall street, and Whitechapel
carry the eye through the very heart of the City, conducting to Bow, Stratford, and a fine tract of
woodlands in Essex. On the right and left side of this line are seen the towers of Bow Church, Cheap-
side, St. Mary, Woolnitch, St. Michael, Cornhill, St. Ethelburg, Rishopsgate, and others of subordinate
height; the Bank, Mansion House, Royal Exchange, East India House, and several of the companies'
halls. Another line, nearly parallel, but a little to the east, extends throughout Watling street (the old
Roman road), to Cannon street, to Tower street, and to that great national prison for royal and noble
personages, that fortress and museum, the Tower; the course of the	with its wilderness of
masts and vessels, the numerous docks and warehouses on its banks; the fine hospital at Greenwich,
and the equally fine country beyond it, contrasted with the levels of the Essex coast, are all defined
and recognized in this direction. Turning to the right for the 30%^?% view, the eye traces the
undulating view of the Surrey hills in the distance, and the Thames in the foreground. The noble
river here assumes its real importance, and displays on its surface a countless number of various vessels,
among which the modern and useful steamboat is particularly distinguishable. The hue bridges of
London, Southwark, Blackfriars, and Westminster, are not only clearly marked, but constitute very
imposing and interesting features. In tracing the two banks of the river from London Bridge to the
westward, an amazing number and variety of public and private buildings arrest the attention, and
separately awaken rejections of irresistible interest. The	view unfolds a new and different
series of subjects. First in eject, in beauty and execution, and in imposing character, are tho two
Campanite turrets, the pediment, and the roof of the western end of St. Paul's Cathedral. The painting
is both masterly and magical; it completely deceives the eye, and imposes on the imagination. The
spectator cannot believe that these towers are depicted on the same canvas and same surface as the
whole line of objects from Ludgate Hill to St. James' Park. This view to the west embraces the long
lines of thoroughfare, Ludgate Hill, Fleet street, the Strand, Piccadilly, &c.; Holborn, and Oxford
road, with the inns of court, Westminster, numerous churches and public buildings to the right and
left, also Hyde Park, Kensington Gardens, and a long stretch of hat country to Windsor.
PARIS BY MOONLIGHT
is a modern work, exhibiting the great continental city as it appeared in 1848, and being suggested,
and the methods of so vast a cycloramic achievement having been inaugurated, by its world-renowned
predecessor, lacks the interest attaching to novelty, but as a work of art is regarded by connoisseurs
as having improved upon the great model. As this magnificent pictorial and picturesque illusion of
the BRILLIANT BEAUTIFUL CITY is exhibited only by night, Mr. BROWN, the celebrated
machinist of the Royal Colosseum, devised an ingenious method of drawing the immense painting over
London by day in a manner so complete as to render easy the marvel of exhibiting two similar pano-
ramas in the same building by day and by night.
This colossal painting is by Messrs. Danson & Sons, and covers over 40,000 square feet of canvas.
The sketches were most carefully taken during the years 1848 and 1849, and have been mostT%<? 2V<?cU 7^97*^	7/777.
17
skilfully and faithfully conveyed to the canvas by the renowned artists. The illusion of moonlight hi
an illuminated city is the most perfect and enchanting ever achieved by art, and as the drawing and
perspective are correct, the observer is enabled to obtain from the tower of the Colosseum as accurate
and comprehensive an idea of Paris as from a bird's eye view upon the spot. To Parisians and travel-
ers who are familiar with the beautiful city, this exquisite cyclorama has been a source of the greatest
delight, and those who have not seen Paris will Rnd knowledge and travel both made easy, without
seasickness and at far less expense at the Colosseum. Upon ascending to the tower, the entranced
beholder will observe the principal objects displayed. Immediately under him are the palace of the Tuti-
leries and its gardens, where in the afternoons and evenings the fashionable world were wont to prome-
nade, the Louvre, which contained a vast gallery and a splendid collection of paintings, the Place du
Carousal, with its triumphant statue of Victory, the so celebrated Palais Royal, the Rue Rivoli, Castig-
lione and Rue Royal, the Place de la Concorde, and the Obelisk of Luxbr, a magnificent relic of ancient
Egypt. In this place the fatal instrument the	was first erected. The Pont (bridge) de la
Concorde, leading to the Chamber of Deputies, which is also seen, the river Seine, on which there are
many floating erections for baths and washing establishments. The spectator taking the station
towards the	perceives the Place Vendome,in the centre of which was the great column cast from
the cannons taken in different battles, and having on its summit a colossal statue of Napoleon, the Rue
de la Paix, the Boulevardes des Capucines, des Italiens, the Chausee d'Antin, and in the distance the
Rue de Clichy, the Batignolles, etc., including to the N. W. a distant view of the far-famed cemetery
Pere la Chaise. On looking towards the are seen the Champs Elysees and its splendid avenues,
terminated by the Barriere de l'Etoile, with the Arc	and a distant view of the Bois de
Boulogne, the favorite ride of the Parisians, and celebrated for the many duels there fought. On the
right ,pide of the great road leading to St. Germain en Laye, stood the Chateau of Neuilly, the favorite
residence of Louis Phillipe. From this station the Faubourg St. Honore is seen, where the hotel of the
English Ambassador is situated. To the west is seen the extended lines of the Boulevards, viz., those
of Montmartre, Poissonviere, Bonne Nouvelles, St. Dennis, St. Martin, with the Portes bearing the same
name, including to the south the Boulevard du Temple and the site of the celebrated Bastille, where
now stands the column to commemorate the revolution of 1830, the Cathedral of Notre Dame, with the
bridges uniting the island on which it stands to the southern hank, forming a beautiful and most prom-
inent feature. In the distance, inclining to the south, a distant view'of the Jardine des Plants, the
Halle aux Vins and the Barriere Fontainbleau, the Pont Neuf, leading to the Rue Dauphine, and the
Ecole de Medecine. An interesting object close to the bridge is a statue in bronze of Henry IV. To
the &?%%%, on the other side of the Port Royale, the Quais d'Orsay and Voltaire, the Faubourg St. Ger-
main, with its immortal hotels, the former residences of the French nobility, the Institute of France,
the Palace of the Legion of Honor, the Hotel des Invalides, with the esplanade, and inclining to the
east Champ du Mars and Ecole Militaire, etc., etc.
By reference to the charts wherein the leading objects of interest are designated by numbers, the
observer may in a short time become familiarized with the topography of the city. It is proper to
remark that since the execution of this painting many important changes have been made in Paris by
Napoleon, and during the last revolution the Communists have destroyed several tine buildings and
columns, &c., which those familiar with the city will recognize.348 BROADWAY, NEW YORE,
FURNISHED THE
PASSENGER ELEVATOR
IN THE
COLOSSEUM BUILDING.
It is one of their improved Steam Machines, worked by a Double Cylinder and reversible
Passenger Engine, fitted with a selfacting brake, by which, through the Winding Drum and Wire
Cables, the engine and car are held immovable when stopped at a landing, but not interfering with
either when in operation. The Valve Gear is very simple, effective and economical of steam, and
through it, the operator in the car stops and starts it instantly, and at will. The car is one of the largest
in use, very substantially built, and carrying with ease 30 passengers at a time from the lower to the
upper landing in half a minute. Two best Wire Lifting Cables are employed, each capable of lifting
30,000 lbs. with safety, and all the operating bearings, fittings and connections are so arranged that its
work is done with perfect smoothness and comfort.
This Elevator combines every requisite that strength and excellence of workmanship, and materials
in all the	can give: but these are not the ultimate dependence for SAFETY. SPECIAL
SAFEGUARDS against disaster from the failure of any of the working parts, are superadded thereto. These
—the "Safety Lock Pawls and Ratchets," "Safety Drum," "Safety Governor and Brake," and "Automatic
Stop Motion," are so adjusted that if^ by the peculiar continuous strain, friction and abrasion of hoisting,
the working parts SUDDENLY FAIL, the FAILURE ITSELF calls them into INSTANT ACTION. Bringing then
to their work their full power, uninjured by wear, THEY NEVER FAIL.
The following, of many,'may be mentioned as fair samples of their Passenger Elevators :
GALT HOUSE, - - - -	Louisville.
BARNARD HOTEL, -	.	-	. Baltimore.
MONONGAHELA HOUSE, - - Pittsburgh.
ST. CHARLES HOTEL, -	- New Orleans.
ST. LOUIS MUTUAL LIFE INS. CO.
PALMER HOUSE,.................Chicago.
POWERSBUILDING,- - - - Rochester.
DREXEL BUILDING, -	-	-	- New York.
ST. NICHOLAS HOTEL, - - - New York.
ARNOLD, CONSTABLE & CO., -	- New York.
Illustrated Circulars furnished on application. Address
OTIS BROTHERS & C(3.,
348 BROADWAY, New York City2V<?w
21
MODERN LONDON BY NIGHT is now in the hands of Messrs. Danson & Son, and will be ex-
hibited so soon as completed. The new picture, the same size as the original, will present the great
commercial METROPOLIS OF THE WORLD as it appears in 1873, and by comparison with London
in 1828, the almost fabulous growth of that great heart of the civilized world will be appreciated and
measurably apprehended. Volumes could not convey so much historical knowledge as may be obtained
in one hour spent in studying the two pictures at the Colosseum. But inasmuch as but a few hundreds
can view the Cyclorama at one time, and the peculiar contour and vast area required tor their ex-
hibition, involves a building suiBciently spacious for other uses, the management have decided to
utilize their great facilities, and FURNISH AN ENTERTAINMENT that for novelty, elegance and
variety has never been attempted in this country or surpassed in the world, and render the N. Y. Colos-
seum a fashionable and popular resort, not only for the citizens of the METROPOLIS OF THE NEW
WORLD, but also of the whole country and its visitors from foreign nations. The ENTERTAIN-
MENT CONTEMPLATED will comprise 2C07'%8 0/07*/, 77208200/ 72090Z/208, 77200A072200/ 77202*90/8, 0%,?2C0/ 2ZZ22-
022/07720/20 0/20/ <%'<ww<?8, 200722/07*8 0/ 802072(0, electrical miracles, &c., &c., too numerous for detail,
many of which are already in hand, and others in preparation in Europe.
THE GRAND PROMENADE
on the first door is 87 x 300 feet, and 30 alcoves, elegantly decorated and furnished, afford abundant
facility for high toned intellectual and moral entertainments.
This department will be in charge of PROFESSOR TOBIN, late of the London Polytechnic,
whose achievements in the held of scientific wonders has a world-wide reputation. Beside the novelties
of the Grand Promenade, Prof. Tobin will preside over THE LECTORIUM.
THE LECTORIUM
is a bijou theatre, south of the grand entrance, elegantly and comfortably htted up for the accom-
modation of 400 persons, as NO EXTRA CHARGE FOR ADMISSION is made 2222/088 9282/07*8
2?7*0/60 7*0807*V0(Z 800/8, and Prof Tobin will give scientific expositions during each day and even-
ing, comprising FAMILIAR LECTURES upon popular subjects of interest, illustrated by an extensive
cabinet of philosophical and chemical .apparatus, with mechanical and musical effects in endless
variety. The management call public attention to this peculiarly novel, delightful, and instructive
feature in the attractions of the Colosseum with especial pleasure, and all the more so that the experi-
ments and wonderful effects are not juggler's tricks or the delusive arts of conjurers, but the combina-
tions and results of scientific knowledge.
The entertainments in this department are designed to illustrate in a manner both pleasing and
instructive THE ILLUSIONS AND DELUSIONS OF SCIENCE on a more costly and comprehensive
scale than in THE ROYAL POLYTECHNIC, LONDON, whose achievements have become celebrated
throughout Europe. It is of course impossible to enumerate the curious and wonderful effects within
the power of science, many of them surpassing the marvels of the juggler's art, and others apparently22
incredible, completely overshadowing the teats of modern spiritualism, and explaining the traditional
mysteries of the ancient oracles and miracles. Among these we may name
THE SPHINX, an artificial human head, that in a most startling and inexplicable way is made to
open its eyes, smile and talk in a perfectly natural manner.
THE PROTEAN CABINET, a new and most extraordinary illusion, far surpassing the achieve-
ments of spiritualism in the mysterious and unaccountable appearance and disappearance of persons in
a bright light.
THE TELEPHONE, illustrating the delusion of spirit rappings in the most natural manner pos-
sible, including both their alleged intelligence and mystery.
LIVING LIKENESSES, illustrating in a curious and satisfactory manner the wondrous illusions
of light and sound.	'	.
THE DISSOLVING STATUE of Pygmalion, pronounced in Europe and America one of the
most beautiful optical illusions ever produced.
In speaking of it, the New FbrA	says : " y,z*0C6gg 7%/ z#AzcA ZAg	<%zg%%%?6%w<% zg <%
g<%Zze?zZ Z%gZ<3%C<2 (?/* ZA^	ZPZZA Z#AzcA gCZ6%C6 Z3 y%ZZZ72g ZA<? T^ZZ^r <7/* (9;rZ. Ag (Z gcZ^7ZZz/%3 ^^p^rZ7?Zg72Z, ZA^
J9Z*eC6gg ZOTZg Z^MT/Zz/z/Z ^7Z(Z ZTZZ^gZz?^."
The RegZe?z TAzzZy GZo&^, in commenting upon it, remarked: A 7K2<2%Zz/M7 g^gcZ zc(Zg^W6Zzzc^&y
c^z^gzzzy Z/?6 gZ^Zz^g (?/ Z?^ZhZ^7z Ze (ZzggoZ?)^y?-(?7?2, pzez#. TAg	z?z zcAzcAzZ zp%g 7?z^72<7y66Z z^(zg 5eZA gZ^rZ-
/z?2y 2Z72^Z cA/Z7WZ7Zy,	(772^ ^ZA<$ 772^gZ ^ZzgZze ^Zz^AZ/z/Z 0%,Zze%7 zZZzZg?<97Zg A6M)7? 6Z)6Z* zozZ-
Z2Cgg^."
THE SPIRIT FLAME, of peculiar intelligence, which, without the explanations of science, would
be regarded as a miracle.
We mention these to indicate in some degree the character of the novel entertainment to be pro-
vided in the Lectorium; but Prof. Tobin, who is the inventor of them and others equally wonderful,
has in preparation a senes of SENSATIONAL ILLUSIONS and STARTLING DELUSIONS destined
to astound and interest the public even more than the Ghost, or Frankinstein in their day, all to be
produced during the season. As we have said, it is the intention of the management to render the
N. Y. Colosseum as much an object of interest as the famous one in Regent's Park, London, and visitors
during the day and night will be able to combine the highest order of entertainment and leisurely
enjoyment with instruction obtained nowhere else.
THE ATTRACTION OF THE PROMENADE will comprise in part (others being continually
added) MUSICAL RECITATIONS of the highest order by,the Colosseum Band.
THE DARWINIAN ORCHESTRA, an automatic novelty of six pieces.
THE AFRICAN FLUTE PLAYER, also a mechanical curiosity.
<27%gg 7?Z<?z#z7z<7, A)<9?'y TMr%z7%, a?z<% ZA<$ zpoyz^rg e/* .A/ZecZzv-wza^eZzgzM.23
The	of	in jewelry, fancy creations and curiosities of industry, and not
least among the marvels of the Colosseum are THE WHISPERING ALCOVES, where parties on either
side the Tower, 150 feet apart, without the medium of speaking tubes, may hold confidential converse.
The exposition will be open each day at 10 o'clock, A. M., and close at five o'clock for the exhibi-
tion of LONDON BY DAY, and re-open for the evening exposition of PARIS BY NIGHT, at 7.80 p. M.P-, & O O EnP3 P3 33 E-< Pi^(Formerly "BERRIAN'S,")
WAREROOMS,
The Largest Variety of FIRST CLASS GOODS FOR HOUSEKEEPERS' USE
to be found in the City.
FINE CRTLERV, SILVER IWEtt WAR]
Japanned & Bright Tin Ware, Wooden & Wiilow Ware,
KITCHEN FURNITURE, CROCKERY ANB COOKING UTENSILS
OF EVERY DESCRIPTION.
Dlustrated Catalogues, with List for Furnishing, sent on application.
Goods delivered in any part of the City and Suburbs, FREE OF CHARGE.12821884