Moving Panorama

The moving panorama was a relative, more in concept than design, to panoramic painting, but proved to be more durable than its fixed and immense cousin. In the mid-nineteenth century, the moving panorama was among the most popular forms of entertainment in the world, with hundreds of panoramas constantly on tour in the United Kingdom, the United States, and many European countries. Moving panoramas were often seen in melodramatic plays. It became a new visual element to theatre and helped incorporate a more realistic quality. Not only was it a special effect on stage, but it also served as an ancestor and platform to early cinema.

The word “panorama” is derived from the Greek words “to see” and “all.” Robert Barker, an Irish-born scene painter, coined the term with his first panorama of Edinburgh, displayed in a specially built rotunda in Leicester Square in 1791. This attraction was extremely popular amongst the middle and lower classes for the way it was able to offer the illusion of transport for the viewer to a completely different location that they had most likely never seen.

Panoramic paintings and the various offshoots had become so in demand across Europe and America by the early nineteenth century that the enormous paintings had begun to be displayed in less specialized settings, like community halls, churches, and eventually theaters where they evolved into moving panoramas and became essential to theatrical set design. Moving panoramas were achieved by taking the long, continuous painted canvas scene and rolling each end around two large spool-type mechanisms that could be turned, causing the canvas to scroll across the back of a stage, often behind a stationary scenic piece or object like a boat, horse, or vehicle, to create the illusion of movement and travelling through space. The immense spools were scrolled past the audience behind a cut-out drop-scene or proscenium which hid the mechanism from public view. Robert Fulton obtained a patent for the panorama in 1799 in France; he is credited with helping create the spool mechanisms that allowed for the moving panorama to take hold in theatrical set design, combining the technology of the Industrial Revolution and art for profit, very much a nineteenth century idea.

However, these paintings were not true panoramas, but rather contiguous views of passing scenery, as if seen from a boat or a train window. Unlike panoramic painting, the moving panorama almost always had a narrator, styled as its "Delineator" or "Professor", who described the scenes as they passed and added to the drama of the events depicted. One of the most successful of these delineators was John Banvard, whose panorama of a trip up (and down) the Mississippi River had such a successful world tour that the profits enabled him to build an immense mansion, lampooned as "Banvard's Folly", built on Long Island in imitation of Windsor Castle. In Britain, showmen such as the durable Moses Gompertz toured the provinces with a variety of such panoramas from the 1850s until well into the 1880s.

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