The Arcades Project - Operi

Principal panoramic representations by Prevost for the panoramas of passage."
"Paris , Toulon, Rome, Naples, Amsterdam, Tilsit, Wagram, Calais, Antwerp,
London, Florence, Jerusalem, and Athens. All were conceived in the same manner.
His spectators, situated on a platform surrounded by a balustrade, as though
on the summit of a central building, commanded a view of the entire horizon. Each
canvas, affixed to the inner wall of a cylindrical room, had a circumference of 97
meters, 4.5 centimeters, 2 millimeters (300 feet) and a height of 19 meters, 42
centimeters (60 feet). Thus, the eighteen panoramas by Prevost represent a surface
area of 86,667 meters, 6 centimeters (224,000 feet}." Labedolliere, Histoire
du nouveau Paris (Paris), p. 30. [Q7a,l]
In The Old Curiosity Shop, Dickens speaks of the "unchanging air of coldness and
gentility" about the waxwork. (, 0 Dream House 0 [O,&a,2]
Daguerre and the Academy [Franc;aise?]: "Lemercier . . gave me a ticket to a
public session of the Institute . ... At this session he is going to recite a poem about
Daguerre's machine in order to revive interest in the thing, for the
inventor lost his whole apparatus in a fire in his room. And so, during my sojourn
in Paris, there was nothing to see of the wondrous operation of this machine."
Eduard Devrient, Briefe a.us Paris (Berlin, 1840), p. 260 [letter of April 28, 1839].
[Q7a,3]
In the Palais-Royal, the "Cafe du Mont Saint-Bernard, a very odd sight, on the
first floor opposite the staircase. (A coffeehouse where, roundabout on the walls,
are painted Alpine pastures. At the height of the tables is a small gallery in which
miniature models constitute the , foreground of the painting: small cows, Swiss
chalets, mills, sowers [should perhaps be cowherds], and the like-a very odd
sight.)" J. F. Benzenberg, Briefe geschrieben auf einer' Reise nach Paris (Dortmund,
1805), vol. 1, p. 260. [Q7a,4]
A poster: The French Language in Panorama." In J. F. Benzenberg, vol. 1,
p. 265. In the same context, information concerning the regulation that applies to
hillstickers. [Q7a,5]
An exceptionally detailed description of the program at the Pierre Theatre7 in
Benzenberg, vol. 1, pp. 287-292. [Q7a,6]
The interest of the panorama is in seeing the true city-the city indoors. What
stands within the windowless house is the true. Moreover, the arcade, too, is a
windowless house. The windows that look down on it are like loges from which
one gazes into its interior, but one cannot see out these windows to anything
outside. (What is true has no windows; nowhere does the true look out to the
universe.) [Q7a,7]
"'The illusion was complete. I recognized at first glance all the monuments and all
the places, down to the little courtyard where I lived in a room at the Convent of
the Holy Savior. Never did a traveler undergo such an arduous trial; I could not