The Sun.
London, England, 1848-12-25 00:00:00

For Now we see through a glass, darkly ; but THEN
iace to face : NOW I know ix part ; but THEN shall 1
411 OW even as also 1 ant known."—l. Cur. xiii. 12.

•
Speaking of the, reception of "Now and Then" by
the reviewers, Mr. Warren remarks—" I feel con-
strained t ) say, that the almost unanimous approbation
of this work expressed by the public press—overlook-
ing, in a noble spirit, defects of detail, while recog-
nising good intentions—has deeply, indelibly impressed
Illy heart." It a gratification for us to reflect that
the opinion we were the first to advance as to the
!Merits of this remarkable fiction has been confirmed
11 the unanimity of our contemporaries, and corro-
orated by the practical approval of the public.
surely the extraordinary success of " Now and Then "
Will act as an inspiration to the genius of its author !

'HE CYCLORAMA AT THE COLOSSEUM.
The proprietors of the Colosseum opened, on Sa
turday, fur private view, a grand new " Cyclorama
end Music-hall," which has just been constructed in
the Albany section of their extensive edifice. This
Magnificent apartment, designed, as its name denotes,
for the exhibition of moveable paintings, or as a con-
cert room, is fitted up in imitation of the vestibule of
some noble mansion, such as in times past was occa-
sionally appropriated to the performance of masques
and plays. The style of decoration adopted is al-
kost exuberant in its richness. Massive pillars of
Sienna marble support the ceiling, which is painted
With gaudily painted allegorical groups. On the
Walls are highly coloured copies of Raffaelle's far-
famed cartoons, and the extensive surfaces of panelling
around the boxes, &c., are occupied with the figures
of a Bacchanalian procession, sculptured in high relief,
and gilt, in imitation of ormolu.
The spectacle with which this new theatre opened
04 Saturday was the exhibition of a moving series of
viewS, descriptive of the city of Lisbon before and
erter•the:great earthsuake of 1755. The spectator is
supposed to be on board some vessel, gliding up the
golden-sanded Tagus, and with, the romantic scenery
on its northern bank and the splendid edifices of
Lisbon alternately presenting themselves to his view.
Commencing with the harbour and castle of Belem
the scene gradually shifts, bringing into sight nearly
the whole of the city and its environs, as they existed
!interior to its overthrow by the earthquake, until we
Cause before the picture of the Grand Square and
atriarchal Palace. Here the scene darkens, a fearful
storm begins, and the lurid clouds, which, according
to the chroniclers, accompanied the calamity, gradually
lower over the convulsed earth. Through this
gloom the recorded phenomena, by land and sea, are
exhibited with wonderful accuracy. The dioramic
effects of shade and colour are very beautifully
varied, and the moving parts of the picture contrived
With, great cleverness, to re-produce the appalling
scene in all its attractive horrors. The passage of the
*hips across the Tagus, where the water tosses and
surges without a breeze, was especially well managed.
The closing picture represents a portion of the city
and the Basilica of Santa Maria lying strewn in
Shattered masses on the ground, with the red glare of
Conflagration reflected from the ruins.