by the teams of artists who worked on them, the effect of the illusion took precedence with the diorama. Painters of the diorama also added their own twist to the panorama's props, but instead of props to make the scenes more real, they incorporated sounds. Another similarity to the panorama was the effect the diorama had on its audience. Some patrons experienced a stupor, while others were alienated by the spectacle. The alienation of the diorama was caused by the connection the scene drew to art, nature and death. After Daguerre and Bouton's first exhibition in London, one reviewer noted a stillness like that "of the grave." To remedy this tomblike atmosphere Daguerre painted both sides of the canvas, known as "the double effect." By lighting both painted sides of the canvas, light was transmitted and reflected producing a type of transparency producing the effect of time passing. This effect gave the crew operating the lights and turning the roundabout a new type of control over the audience than the panorama ever had. In Britain and particularly in the US, the panoramic ideal was intensified by unrolling a canvas-backed scroll past the viewer in a Moving Panorama, an alteration of an idea that was familiar in the hand-held landscape scrolls of Song dynasty. First unveiled in 1809 in Edinburgh, Scotland, the moving panorama required a large canvas and two vertical rollers to be set up on a stage. Peter Marshall added the twist to Barker's original creation, which saw success throughout the 19th and into the 20th century. The scene or variation of scenes passed between the rollers, eliminating the need to showcase and view the panorama in a rotunda. A precursor to "moving" pictures, the moving panorama incorporated music, sound effects and stand-alone cut-outs to create their mobile effect. Such a traveling motion allowed for new types of scenes, such as chase sequences, that could not be produced so well in either the diorama or the panorama. In contrast specifically to the diorama, where the audience seemed to be physically rotated, the moving panorama gave patrons a new perspective, allowing them to "[function] as a moving eye". The panorama evolved somewhat and in 1809, the moving panorama graced the stage in Edinburgh. Unlike its predecessor, the moving panorama required a large canvas and two vertical rollers. The scene or variation of scenes passed before the audience between the rollers,