the convex face of the Globe was visible above the supporting wall and much of that was obscured by the numerous beams and supports criss-crossing the interior of the corridor. The Architect criticised the internal decoration, much of which was by the theatrical scenery designer William Roxby Beverley, for being too restrained. Besides the circular corridor, Jermyn also designed a Moorish gate for the approach to the Globe's entrance. Four large galleries were later built between the loggias to surround the internal corridor and there was a refreshment stand to service the queues waiting to enter the globe. The building was about square and the external walls about high. The domed roof was originally specified in zinc, but Wyld insisted on it being made in lead, which had added to the cost and complexity of the build. Wyld complained that the building had not been finished to a high standard: there were cracks in the plaster and brickwork, leaks from rain, and there were complaints about the smell from the blocked drains almost as soon as the attraction opened to the public. The external diameter of the globe itself was . The frame was formed by 32 large wooden trusses which were in turn supported by a brick enclosure rendered externally in cement. Between the trusses were smaller horizontal ribs from which zinc bands supported plaster casts of the features of the earth created from clay originals. There were about 6,000 of these plaster casts, each about square and thick. These castings had proved particularly problematic – not only did they have to butt together perfectly but they also had to have a tiny curvature to fit to the concave interior of the shell – Wyld had needed three attempts to perfect the design. The production procedure was also time-consuming: the appropriate scale section of the Earth's surface would first be traced out on paper, then transferred to clay modelled with the appropriate topography, from which a mould would be taken; the mould was then tried and any corrections made before a final cast was produced and passed to the painters for decoration. By day the globe was illuminated by the light from the glass set into the dome directly above it and by night with gas lighting. Visitors entered the globe through an opening into the Pacific Ocean, then ascended through a series of four platforms. At each stage