managed. In short, nothing can exceed the fine contrast of the bold and
broad buildings in the fore-ground with the work of the middle, and the
minuteness of the back-ground:--

Now to the sister hills that skirt her plain,
To lofty Harrow now, and now to where
Majestic Windsor lifts his princely brow,
In lovely contrast to this glorious view,
Calmly magnificent.

Heavens! what a goodly prospect spreads around,
Of hills, and dales, and woods, and lawns, and spires,
---------------------------------till all
The stretching landscape into mist decays.

It seems scarcely possible for painting to achieve anything nearer to
reality than has been effected in the union of the projecting portions
and the flat surface of the picture--an effect which will be hailed with
enthusiasm by the spectator. This part is the work of Mr. Paris, "of
whose talents and valuable assistance in the execution of the painting,"
says a writer in the _Times_, "the proprietor speaks in terms of
generous enthusiasm, which are well deserved, and equally honourable to
both parties." Another critical writer, in the _Weekly Review_,
likewise, pays a deserved tribute to the genius of Mr. Paris, in his
share of the painting. He says, "The spectator who shall view this
magnificent Panorama, without being previously informed of the
difficulties with which the able and indefatigable artist, Mr. E.T.
Paris, had to contend, however he may be struck with the _tout
ensemble_, will hardly be able to appreciate the merit of the work. In
the first place, as no one individual could accomplish such an