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Updated: May 14, 2025
The sight-seeing public was but a limited and exhaustible body then, little recruited by visitors from the provinces or travellers from the Continent. Long runs of plays or other entertainments the rule with us were then almost unknown. The Eidophusikon ceased to attract. The amount received at the doors was at last insufficient to defray the expenses of lighting the building.
His reputation grew; his pictures were in request; he was honoured with the steady patronage of King George III., and was personally an acknowledged favourite at court: a thoroughly successful man indeed. Then we come down to the year 1789, and find the artist of the Eidophusikon assuming a new character.
But then it must be remembered that they were, for the most part, distinctly the inventions of De Loutherbourg, and, upon their first introduction, were calculated to impress the public of his day very remarkably. For two seasons De Loutherbourg's Eidophusikon, exhibited at the Patagonian Theatre in Exeter Change, and afterwards at a house in Panton Square, was attended with singular success.
Gainsborough's ready sympathies were completely enlisted. For a time, after his manner, he could talk of nothing else, think of nothing else; and he passed evening after evening at the exhibition. He even constructed a miniature Eidophusikon of his own moved thereto by De Loutherbourg's success and the beauty of a collection of stained glass, the property of one Mr.
In 1782 De Loutherbourg took the theatre for the exhibition of his EIDOPHUSIKON. De Loutherbourg had professedly two objects in view: to display his skill as a scene-painter well versed in dioramic effects, and to demonstrate to the English people the beauties of their own country.
He opposed the prejudice then rife among artists and amateurs alike, that England afforded no subjects for the higher display of the painter's art. He confined the Eidophusikon for the most part to the exhibition of English landscapes under different conditions of light and shadow. A chief view exhibited was from the summit of One Tree Hill, Greenwich.
Jarvis and painted various landscapes upon glass and transparent surfaces, to be lighted by candles at the back, and viewed through a magnifying lens upon the peep-show principle. But at last the fickle public wearied of the Eidophusikon, as it had been wearied of Mr. Dibdin's puppets. The providers of amusement had, in those days, to be ever stirring in the production of novelties.
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