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Notes
1 Quote from Robert Barker’s patent printed in The Repertory of Arts and Manufactures (1796), pp. 165–167.
2 Article from The Spectator, vol. 32, issue 1610 (1859).
3 The first panorama featured in the illustrated press was the Colosseum print, presented by the Illustrated London News in January 1843.
4 Quote from Denise Oleksijczuk, The First Panoramas: Visions of British Imperialism (Citation2011), p. 2.
5 Ernest Bosc, Dictionnaire raissoné d’architecture (Citation1879), p. 442. Own translation from French.
6 Panoramas from the nineteenth century still exist and work as panoramas to this day; however, they are all from the latter part of the century and are constructed differently and installed with more technology and scenography. This article is primarily concerned with the early panorama.
7 Robert Mitchell documented the construction of the rotunda with both text and illustrations in Plans, and Views in Perspective, With Descriptions, of Buildings Erected in England and Scotland: And Also an Essay, to Elucidate the Grecian, Roman and Gothic Architecture, Accompanied With Designs (Citation1801).
8 Quote from Robert Barker’s patent printed in The Repertory of Arts and Manufactures (1796), pp. 165–167.
9 Later panoramas would conceal the lower edges with scenography and props scattered around on the floor before the canvas.
10 Quote from Memoires de l’institut national des sciences et arts – Litterature et beaux arts (Citation1804), p. 59. Translated from French by Elisa Chazal.
11 Though the painting was formally attributed to Robert Barker, it was his son Henry Aston Barker who did most of the work painting and sketching from the top of Albion Mills. See also Ralph Hyde and Yale Center for British Art, Gilded Scenes and Shining Prospects: Panoramic Views of British Towns (Citation1985).
12 For more about the connections between panorama painting and land-measuring, see Ralph Hyde, Thomas Hornor: Pictural Land Surveyor (Citation1977).
13 See the work of Stephan Oettermann, who writes thoroughly on the altered perspective and the technical aspects of the sketching of the panorama.
14 The classical Albertian is derived from the thinking of Leon Battista Alberti in De Pictura (1450).
15 Canaletto’s painting is depicting roughly the same view, likely from the same vantage point, and thus makes for a good comparison to Barker’s panorama.
16 Rachel Teukolsky has an excellent chapter on the picturesque in Picture World: Image, Aesthetics, and Victorian New Media (Citation2020). A theory of the picturesque was written down by William Gilpin in An Essay Upon Prints Containing Remarks Upon the Principles of Picturesque Beauty (Citation1768).
17 For a reproduction of the original panorama, most like exhibited by Henry Barker in 1806, see William Heath, Panorama of the Battle of Trafalgar, c.1820. Drawing. 62.2 × 1001.5 cm. National Maritime Museum, Greenwich. https://www.rmg.co.uk/collections/objects/rmgc-object-202512.
18 For more on the early iterations of the graphic novel/comic, see also Catherine J. Golden, Serials to Graphic Novels: The Evolution of the Victorian Illustrated Book (Citation2018), and Denis Mellier and Hugo Frey, “The Origins of Adult Graphic Narratives: Graphic Literature and the Novel, From Laurence Sterne to Gustave Doré (1760–1851)” (Citation2018).
19 For the full print, see Ebenezer Landell (plus 18 assistants), The Illustrated London News Colosseum View of London, 1843. After design by G. F. Sargant, inspired by daguerreotypes taken by Antoine Claudet. Hand-colored wood engraving. 30 × 254 cm. Yale Center for British Art, Paul Mellon Collection. https://collections.britishart.yale.edu/catalog/orbis:10168489.
20 See article about Thomas Hornor by John Timbs in The Mirror of Literature, Amusement, and Instruction (Citation1823), pp. 450–451.
21 Robert Ker Porter’s painting Picture of the Passage of Mount St. Gothard (1804) is explicitly referred to as “his celebrated panorama” in a note featured in Bell’s Weekly Messenger, 1 September 1805. See also Oettermann, p. 115.
22 From Henry Aston Barker’s obituary in The Gentleman’s Magazine and Historical Review (1856).
23 See also Oettermann’s analysis of Friedrich (pp. 45–47).
24 Catalogue de la 7me exposition des Artistes Indépendants (Salons du Panorama de Reichshoffen) (1882).
Additional information
Notes on contributors
Ann Kristine Eriksen
Ann Kristine Eriksen is a PhD student at the European University Institute, Florence, in the Department of History. She has a background in art history (Copenhagen University) and has worked as a curator for several Danish museums. Ann’s research is centered around the pictorial representation of the nineteenth-century European city. Wanting to go beyond the established canon of artworks, Ann is preoccupied with ephemeral picture sources. She approaches phenomena like the picture postcard or the commercial poster as, equally, modes of display and places of aesthetic production in order to better understand the complex language of urban visual representation.