PANORAMA (Gr. ray, all, and iipaga, view), the name given originally to a pictorial representation of the whole view visible from one point by an observer who in turning round looks suc cessively to all points of the horizon. In an ordinary landscape picture only a small part of the objects visible from one point is included. If a greater part of a landscape has to be represented, it becomes more convenient for the artist to suppose himself sur rounded by a cylindrical surface in whose centre he stands, and to project the landscape from this position on the cylinder. In a panorama such a cylinder, originally of about 6o ft., but now extending to upwards of 13o ft. diameter, is covered with an accurate representation in colours of a landscape, so that an observer standing in the centre of the cylinder sees the picture like an actual landscape in nature completely surround him in all directions. This gives an effect of great reality to the picture, which is skilfully aided in various ways. The observer stands on a platform representing, say, the flat roof of a house, and the space between this platform and the picture is covered with real objects which gradually blend into the picture itself. The picture is lighted from above, but a roof is spread over the central platform so that no light but that reflected from the picture reaches the eye. To make this light appear the more brilliant, the passages and staircase which lead the spectator to the platform are kept nearly dark. These panoramas, suggested by a German
architectural painter named Breisig, were first executed by Robert Barker, an Edinburgh artist, who exhibited one in Edinburgh in 1788, representing a view of that city. A view of London and views of sea fights and battles of the Napoleonic wars followed. Panoramas gained less favour on the continent of Europe, until, after the Franco-German War, a panorama of the siege of Paris was exhibited in Paris. This panorama, executed by Henri Philip poteoux, French painter, included plastic objects in the fore ground which strengthened the optical illusion. Paul Philippoteoux, the son of the above painter, was noted for his "Battle of Gettys burg" (1883) which was exhibited in New York and other Ameri can cities, "Plevna" and "Falls of Niagara." Other distinguished painters of panoramas were Ludwig Braun and Anton von Werner in Germany, and De Neuville and Detaille in France.
The name panorama, or panoramic view, is also given to drawings of views from mountain peaks or other points of view, such as are found in many hotels in the Alps, or, on a smaller scale, in guide-books to Switzerland and other mountainous dis tricts. In photography a panoramic camera is one which enables a wide picture to be taken.
See Bapst, Essai sur l'histoire des panoramas et dioramas (Paris, 1891).