Unlike the panorama where spectators had to move to view the scene, the scenes on the diorama moved so the audience could remain seated.Comment 1999, p. 58 Accomplished with four screens on a roundabout, the illusion captivated 350 spectators at a time for a period of 15 minutes. The images rotated in a 73 degree arc, focusing on two of the four scenes while the remaining two were prepared, which allowed the canvases to be refreshed throughout the course of the show. While topographical detail was crucial to panoramas, as evidenced by the teams of artists who worked on them, the effect of the illusion took precedence with the diorama.Thomas 2005, p. 11 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.Thomas 2005, p. 12-13 The alienation of the diorama was caused by the connection the scene drew to art, nature and death.Thomas 2005, p. 13-14 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.
Unlike the panorama where spectators had to move to view the scene, the scenes on the diorama moved so the audience could remain seatedComment 1999, p. 58 Accomplished with four screens on a roundabout, the illusion captivated 350 spectators at a time for a period of 15 minutes. The images rotated in a 73 degree arc, focusing on two of the four scenes while the remaining two were prepared, which allowed the canvases to be refreshed throughout the course of the show. While topographical detail was crucial to panoramas, as evidenced by the teams of artists who worked on them, the effect of the illusion took precedence with the diorama.Thomas 2005, p. 11 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.Thomas 2005, p. 12-13 The alienation of the diorama was caused by the connection the scene drew to art, nature and death.Thomas 2005, p. 13-14 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 turn,ing the roundabout a new type of control over the audience than the panorama ever had.