A D V E N T U R E S in C Y B E R S O U N DCyclorama, Cineorama, Mareorama and Myrioama
Cyclorama (Cy`clo*ra"ma) n. [Cyclo- + Gr. "o`rama sight, spectacle.] A pictorial view which is extended circularly, so that the spectator is surrounded by the objects represented as by things in nature. The realistic effect is increased by putting, in the space between the spectator and the picture, things adapted to the scene represented, and in some places only parts of these objects, the completion of them being carried out pictorially.
Websters Dictionary, 1913
The suffix "-arama" The suffix "-arama," as we know it today, is one of many queasy cultural relics from the 50s and early 60s, along with blond wood furniture, Capri pants, and the beehive hairdo. Originally it derived from "panorama" (from the Greek pan, all, plus horama, view), a word invented in 1789 or so by one Robert Barker to describe his invention, a type of painting showing a wide-angle view of some notable scene. (According to "Ripley's Believe it or Not," not normally one of my top sources of etymological insight, Barker's paintings were 50 feet high, up to three miles long, and weighed up to 8,000 pounds.) In the 1840s and subsequently we find mention of something called a "cyclorama," which was a panorama mounted inside a cylinder, with the spectator standing in the center. By the end of the 19th century panorama, and the suffix -arama in general, had come to be attached to any wide angle depiction of the great outdoors. The artist William Henry Holmes, for example, painted nine panoramas of the Grand Canyon and other scenes from the American West that were published in 1882 in the "Tertiary History of the Grand Canyon District." These beautifully detailed paintings have been described as "the highest point to which geographical or topographical illustration ever reached in this country." In 1897 the French inventor Grimoin-Sanson patented an idea he called "cine'orama." He proposed to film a 360 degree aerial view of Paris using 10 cameras mounted on a balloon floating over the city. Later 10 movie projectors would recreate the scene for the entertainment of earthbound spectators, who would take it in from a full-size mockup of the balloon. The only drawback was that, given the fire hazard created by the movie equipment of the day, 10 projectors were pretty much guaranteed to burn down the theater. The cine'orama plan was never carried out. Still, you could see where people were going with this -arama/-orama concept. That was pretty much it as far as vocabulary building was concerned until 1939, when the famous designer Norman Bel Geddes unveiled the Futurama exhibit at the General Motors pavilion of the 1939 New York World's Fair. In Futurama, spectators sat in moving seats that conveyed them past a 36,000-square-foot miniature environment depicting cities, towns, mountains, valleys, lakes, etc., all connected by a futuristic highway system. (Hey, it was the General Motors exhibit, after all.) The exhibit's incredible detail helped make it a huge success and it paved the way, so to speak, for the interstate highway program of the Eisenhower era. Another exhibit at the 1939 fair was Democracity, a miniature city (they were big on miniatures in 1939) constructed in the spherical Perisphere building. Spectators viewed the city from a revolving elevated platform. At the climax of the show, panoramic scenes of striding workers in the city of the future and so on were projected on the spherical interior of the Perisphere using the 11 projectors of the Vitarama system--apparently they had dealt with the problem of burning down the theater by then. Vitarama led to Cinerama, which arrived in 1952. This was the beginning of a veritable thunderstorm of "-aramas." At first it was restricted to widescreen movie processes; later it came to signify any long, expensive entertainment spectacular, and later still it was applied to virtually any commercial enterprise that looked like it could stand a little goosing, e.g., Liquorama, formerly Al's Tap. The usage has since gone into decline, mercifully, but you still see it around sometimes, usually in places where they use the word "mod" to describe anything that's happened since 1965. Now -arama even has its own Web site. (Are you surprised?) Lovingly put together by Howie Green and Robin Worth, the site displays a vast--dare I say panorama?--of -aramas and -oramas from across the U.S. Definitely worth a look at www.hgd.com/orama.html. Source: TBA
The Boston Cyclorama The Boston Cyclorama was built during a weird fad in the late 19th century. The idea: Design a building in the shape of a cylinder and decorate the inside with a large circular painting, usually of a gory battle of major historical significance. Built in 1884, this building hosted presentations of the Battle of Gettysburg and Custer's Last Stand.
 Cyclorama Building, Boston, Mass.
The trend, unsurprisingly, waned in popularity with the turn of the century, but the cylindrical Cyclorama remains. The space has been used for various public events. In 1970, it was purchased by the city and today is the main South End site for the Boston Center for the Arts. The BCA hosts whatever events can fit into a big cylinder. Text : http://boston.citysearch.com also... Cyclorama of the Battle of Gettysburg by Paul Philippoteaux: Permanently Located in Boston, Mass. on the Moody and Tabernacle Site, Tremont Street...C.L. Willoughby, Sole Proprietor. n.p., 1901? 34 p. E475.53C9. also... ART/CRAFT'98 at the Boston Center for the Arts CYCLORAMA, 539 Tremont Street, Boston, Mass. November 6,7,8 This elegant and intimate show is held in the historic Cyclorama in Boston's renovated South End. One hundred of the finest artists and artisans selected by a peer jury from applicants all over the country will exhibit their exceptional work in all media. The Cyclorama is the centerpiece of the Boston Center for the Arts, one of Boston's leading arts institutions. It is a dramatic gathering place -- a 23,000 square foot rotunda under a glass dome. The beautiful South End, with its brick-lined streets and gorgeous row houses, is home to some of the most exciting restaurants in Boston, great theater, the distinguished Mills art gallery and the Boston Ballet. also...for a detailed essay on the history of the Boston Cyclorama http://bcaonline.org - CACHED 11/99
The Battle of Atlanta : Cyclorama Presented here is a brochure for the The Battle of Atlanta Cyclorama. Click on the smaller images to download a near? full size copy. The item was sourced from an auction on eBay in 1999.
 Battle of Atlanta, Cyclorama, (Brochure) Side A a recent auction on eBay You can also download a near? full size copy
Battle of Atlanta, Cyclorama, (Brochure) Side B a recent auction on eBay You can also download a near? full size copy
 Cyclorama, Atlanta (exterior), Postcard An eBay auction site in 1999
 Battle of Gettysburg, (Atlanta), Postcard (face) An eBay auction site in 1999
 Battle of Gettysburg, (Atlanta), Postcard (reverse) An eBay auction site in 1999
Paris by Night : Cyclorama [...] On the southeast corner of Broad and Locust streets is The Colosseum. It stands directly opposite the Academy of Music, and is one of the most noticeable buildings in the city. It was originally erected at the corner of Broadway and Thirty-fifth street, in New York, but was taken down, transferred to Philadelphia, and rebuilt here in the spring of 1876. As it constitutes one of the most prominent places of interest in the city the whole year round, a brief description of it will be of interest to the reader. The building is cylindrical in form, and has a diameter of 129 feet at the base, and 126 feet at the eaves. [...] The outside, 405 feet in circumference, and 75 feet high, is covered with corrugated iron. Being constructed in this way it can be seen how it was possible to take the building down in New York and ship it to Philadelphia, although the undertaking was a laborious one, and attended by enormous expense. The roof is covered with tin, and contains forty-eight skylights. Within the building is a promenade 94 feet in diameter, and 300 feet in circumference.[...] The building is designed expressly for the exhibition of the magnificent panorama of Paris, which has attracted so much attention in that city and in New York. The picture shows Paris by Night, and is the work of Messrs. Danson & Son, artists of eminence. It covers over 40,000 square feet-or more than an acre-of canvas, and represents a territory of about seven square miles. Every street and every building of prominence or interest in all this wide space is depicted on the canvas with absolute correctness. The great capital is shown in its most magnificent mood, and the painting has a reputation among artists higher than that of the Old London. In its illusion Paris by Night surpasses all works of this kind ever devised. It is almost impossible to escape the impression that one is indeed looking down upon an enormous living and breathing city. Drawing and perspective are perfect, and Paris, absolutely as it was before the Communistic spoilers ravaged it in parts, is practically before the gazer. All persons who have been in Paris will take delight in refreshing their memories by this means, and it will give the greater number who have not been there an excellent idea of the place where all "good Americans go when they die." The Cyclorama is arranged by ingenious mechanism around the entire inner surface of the circular edifice, its lower edge, however, not coming to within twenty-five feet of the ground floor, that space being filled, as before stated, by the promenade. The spectator ascending the tower emerges at a height of about fifty feet upon a central platform, looking downward from which he sees the sparkling city spread seemingly for miles around him. The idea is that the sight-seer is upon some eminence in the city of Paris, and there is nothing to break the spell, unless it is the queer French spoken by the people around him. To further carry out the pleasant fiction the canvas is made to extend far up and beyond the platform, and is painted to represent the heavens. The stars shine out, and the moon pours its full soft light over the scene, harmonizing and contrasting with the myriad illuminations which make gay the Boulevards, the bridges, and the other busy centres of Parisian life. At certain times mechanical means are brought in play by which there is a perfect simulation of a storm over the city. The moon becomes obscured by clouds and the lights of the city are blurred and extinguished by fast driving rain. This scenic effect universally excites admiration and astonishment. McCabe, James Dabney, 1876, The illustrated history of the Centennial exhibition., Philadelphia, Pa. The National publishing company, Philadelphia, Pa., Chicago, Ill. 962p., p. 76-79
 The Giant Naval Fight Cyclorama This cyclorama recreated the epic Civil War battle between the 'Ironclads', the Monitor and the Merrimac. Photograph by F. A. Rinehart, 1898, © Omaha Public Library, 1998, Photograph size 8.6 inches by 6.6 inches Text : http://www.omaha.lib.ne.us A larger version may also be downloaded
Cyclorama Building, Buffalo, New York Built in 1888, the 16-sided Cyclorama Building was originally designed to be the entertainment wonder of the late 19th Century. The structure housed immense, 400' x 50' panoramic oil paintings that were viewed by the public from a central stairway, with a narrator telling the story of what an artist had depicted on canvas. The two panoramic paintings that were housed in Buffalo's Cyclorama were Jerusalem on the Day of the Crucifixion, and The Battle of Gettysburg. (These paintings are still on display in Quebec City and Gettysburg, respectively.)
 Cyclorama Building, Buffalo, New York
After a few short years, the cyclorama fad ended and the hundreds of facilities built in this country gradually fell into disuse and were demolished. By 1895, the building in Buffalo was being used as a roller skating rink, and later as a livery stable and a garage. [...]..Frank L. Ciminelli, the founder of Buffalo's largest construction company [...] purchased it in 1985 [...] In 1991, the Buffalo Building Owners and Managers Association awarded the Cyclorama as Historical Building of the Year. This award was the crowning glory for the building, its rich history and the many people who saved the structure from the wrecking ball.
The Gettysburg Cyclorama
 News report of the battle at Gettysburg The Circular July 4th?, 1863, Oneida, New York. Small folio-size, 4 page issue. p.2
The culmination of the battle was captured on canvas by the French artist Paul Philippoteaux who was a professional cyclorama painter and artist. Philippoteaux came to Gettysburg in 1879 to visit the battlefield, make sketches, and interview participants. He also contacted a local photographer to make a panoramic photographic record of the area for use as a background for the painting. These are some of the earliest detailed photographic images of Cemetery Ridge, the Angle and "High Water Mark", and the field of Pickett's Charge.
 Battle of Gettysburg, (Booklet) c.1890 An eBay auction site in 1999
Cycloramas were large format 360 degree paintings which surrounded the viewer. Most depicted historic events, including battle scenes, and were enhanced with landscaped foregrounds and life-size figures. The effect was to make the painting come to life and appear three-dimensional to the viewer. Hundreds were painted and exhibited in Europe and America during the 1800's. Most were lost or destroyed and only a handful survive today.
Purchased by the National Park Service, the painting was moved to its present home- the National Park Service Cyclorama Center- in 1962. The Gettysburg Cyclorama is 360 feet long, 26 feet high and weighs an estimated 3 tons. The fates of the other Gettysburg Cycloramas have been less fortunate. The first painting was eventually sold and is in private ownership. Two more versions of the Gettysburg Cyclorama were painted and exhibited, but neither survive. One was cut up and used for tents on a Shoshone Indian Reservation after the turn of the century. The fate of the other painting is unknown. also... Gettysburg Visitor Center "...After World War II, visitation to Gettysburg increased steadily. The park headquarters over the Post Office were woefully inadequate to accommodate these growing numbers needing direction and assistance. In addition, the famed Philippoteaux panorama painting of the third day's battle needed a conservator's treatment as well as new quarters. Housed in a circular brick building on Baltimore street since 1913, the cyclorama had been acquired by the park in 1941. A new cyclorama building/visitor center was constructed to fulfill both those needs as part of a Service-wide Mission 66 program. The building, with its huge "drum" protecting the revitalized painting opened in 1962 in preparation for the centennial observance of the battle. Ten years later, the former Rosensteel National Museum, with its unique collection of battle artifacts and electric map, was acquired by the park and complemented the cyclorama building as the new Visitor Center."
Kathleen Georg Harrison also... Battle of Gettysburg, Union Square Panorama Company, (booklet) c.1890 "Union Square Panorama Company Battle of Gettysburg", 36 page booklet published by Press of Brooklyn Daily Eagle. "The greatest work of the celebrated french artist Paul Philippoteaux" this panorama was in Union Square, NY (Fourth Avenue, 18th and 19th Streets), and was an accurate reproduction of the "whole, mighty struggle, as it actually took place on July 3rd, 1863" in Gettysburg, Pa.
 Battle of Gettysburg, Panorama, (booklet), New York, c.1890 An eBay auction site in 1999
Over 1/2 million people saw it in Chicago and the receipts were $241,300. Mr. C.L. Willoughby of Chicago was so taken with this success he requested the artist to do one for Boston which was then sold for $300,000. "IT WAS THEN DETERMINED TO PLACE ONE IN NEW YORK. In order to execute a canvas still more perfect than the others, the artist decided to paint it in America, where he could obtain, and copy better, photographs of the prominent heroes of Gettysburg, the coloring of the country and the exact American uniforms and accoutrements of 1863.
 Battle of Gettysburg, Panorama, (booklet), New York, c.1890 An eBay auction site in 1999
also... Battle of Gettysburg [Cyclorama], Union Square, New York... NY: Brooklyn Daily Eagle, 1881. 36 p. E475.53C9B35. http://www.geocities.com/CollegePark/
The Case of the Missing Manassas Cyclorama
Long-Lost image of Manassas cyclorama found in thrift shop.
reCyclorama The Campaign to the Cyclorama Building at Gettysburg
Battle of Shiloh, Panorama, Chicago, 1885 DESCRIPTION: An small original, paper cover, manual describing the Panorama of the Battle of Shiloh in Chicago, copyrighted 1885.
 Battle of Shiloh, Panorama, front cover, Chicago, 1885 a recent auction on eBay A larger version may be downloaded
 Battle of Shiloh, Panorama, back cover and 'map', Chicago, 1885 A recent auction on eBay
 Battle of Shiloh, Panorama, fold out diagram, Chicago, 1885 a recent auction on eBay A larger version may be downloaded
SIZE: Manual is 6" x 9 and 1/4" closed. Foldout of Panorama is 14" x 17" a recent auction on eBay
Cycloramas in Australia The Fitzroy Cyclorama in Melbourne was almost forty metres in diameter and over fifteen metres high; the picture was 1858 square metres. The first scene exhibited was The Battle of Waterloo Images in preparation By 1891 there were five cycloramas in Australia, one each in Adelaide, Launceston and Sydney, and two in Melbourne. Their profitability was threatened, however, by the depression of the 1890s and their claims to 'wonderful realism' were soon challenged by motion pictures. http://home.vicnet.net.au/~caths/
Chase's Electric Cyclorama "In our illustration, (not available) we give a general view of the electric cyclorama, or panorama, as conceived by the inventor, Mr Chase of Chicago. The projection apparatus, suspended in the center of the panorama by a steel tube and guys of steel wire, is 8 feet in diameter. The operator stands within the apparatus and is surrounded by an annular table supporting eight double projectors, lanterns and all the arrangements necessary for imparting life to a panorama 300 feet in circumference and over 30 feet in height. It is possible at will to animate such and such a part of the view by combining this apparatus with the Edison kinetoscope or the Lumiere kinematograph." http://www.islandnet.com/~ianc/dm
Cineorama Designed for the Paris Exposition [of 1900 -ed.] by Raoul Grimoin-Sanson, the Cineorama features a 360° cinematic view of the horizon. Ten projectors display an elaborately hand-colored film of Paris, shot from an ascending balloon, and projected onto a completely circular 330 ft. screen. The audience views this cinema in-the-round from the center of the theatre. The Cineorama is closed after only a few screenings though, due to the dangers presented by the highly flammable film contained inside the projection box upon which the viewers must stand. Primary Reference Site
Le Cineorama de Grimoin-Sanson: Paris 1900
 Raoul Grimoin-Sanson's Cineorama of 1900
The Cineorama format was developed beginning in 1896, but was exhibited for three days only at the Paris Exhibition of 1900 beginning on April 24th. The short run was due to the exhibit being closed by the authorities due to excessive heat in the projection booth and an accident involving the projectionist. This three day showing was the only reported use of the system. also...
 Raoul Grimoin-Sanson's Cineorama of 1900
In a spectacular way, the Paris World's Fair of 1900 also introduced the mesmerising medium of movies to the new century. The early cinematography of Louis Lumiere was projected onto a huge screen. An invention by Raoul Grimoin-Sanson called Cinéorama featured panoramic vistas shot from a balloon. Duchamp said he liked movies, but complained of not having the time to go see many of them, while objecting in particular to the need for planning that excursions to the Parisian cinema seemed to require. Movies did accord with his generic interest in motion and with phenomena of the so-called fourth dimension. The most important instance of Duchamp's involvement with cinema photography is the Anémic Cinèma project with Man Ray and Marc Allgret of 1926. As Duchamp confided to Pierre Cabanne, his concern was less with movies than with optics, while, nevertheless, one of the great appeals of cinematography was the humor and amusement afforded by the process.
"The movies amused me because of their optical side. Instead of making a machine which would turn, as I had done in New York [with Man Ray, the first of several related projects being Rotary Glass Plates (Precision Optics) (1920)], I said to myself, "Why not turn the film?" That would be a lot simpler. I wasn't interested in making movies as such; it was simply a more practical way of achieving my optical results. When people say that I've made movies, I answer that, no, I haven't, that it was a convenient method--I'm particularly sure of that now--of arriving at what I wanted. Furthermore, the movies were fun."[ Ferrier, Art of our Century, p.17., Cabanne, Dialogues, p. 68. ] also... The first incident of cinematic illusion was originally produced by Raoul Grimoin-Sanson a French engineer, at the 1900 World Exhibition in Paris 1. He chose an air-balloon, took several films from air-balloon, and showed them to spectators who sit inside a air balloon panorama. The spectators experienced the sensation of rising into the air. By reversing the direction in which the successive frames are projected, the illusion was created that the balloon was descending and landing. Because the film provided a 360-degree panoramic view, the film gave a strong impression as if they were actually flying over the city Leonard de Vries 1971 http://www.lcc.gatech.edu/~kwatanabe/Final/working2.html - no longer active
Auguste Baron and the cinématographe Part II, The Cinématorama and the Cinépanorama Musée des arts et métiers, La revue N°24, September 1998 Alain Mercier (images in preparation) In his patent dated 4th April 1898, Auguste Baron presents the key advantage of his Graphophonoscope: enabling the audience to see and hear "scenes and the sounds reproduced as though they were actually there". This postulate--presenting brand new cinematographic technology as an imitation of real life--gave rise to several strange experiments in the late 19th century. On 13th November 1896, Raoul Grimoin, known as Sanson, secured a patent for his Multiplex Projector, "device making it possible to take and project moving panoramic views giving the impression of reality". On 26th November of that same year, Baron registered a patent for a "device making it possible to obtain the circular photography and projection of animated views, by grouping together Cinematographic devices run simultaneously [...]; these devices contribute to the formation of a panoramic image projected onto a circular screen." (fig. 1). On 25th November 1897, Raoul Grimoin-Sanson registered another patent similar to the previous ones, for his Cinécosmorama or Cinéorama (fig. 2). Grimoin-Sanson claimed that his Cinéorama was invented around spring 1895, when he constructed a device that could project the moving images of Edison's kinetoscope. A few months later, he improved this prototype under the name Phototachygraphe. Between 1895 and 1897, Grimoin-Sanson, a former magician, adventurer and occasional storyteller, studied plans for a vast circular hall with walls that would serve as a 360° screen. In the middle of the floor there was to be an immense nacelle where the public would be located, with a perfect imitation of a giant balloon on top. Ten projectors, arranged in a star shape, were to be placed under the nacelle... While Grimoin-Sanson was raising the 465,000 francs his project required (construction of workshops for making the devices for the Cinéorama, concession of the operating site within the context of the Paris Exposition, filming budget [fig. 3]...) Baron made the mistake of trying to keep two pots on the boil! Between 1896 and 1898, while he was working frantically to improve the impossible Graphophonoscope, he also had high hopes for his Cinématorama, which was just as fanciful. He registered a patent on 16th November 1899 this time talking of a "device for circular, panoramic, animated projections in colour and with sound, known as the talking Cinématorama". In one of his notebooks, Baron vividly illustrates how he saw the appeal of the Talking Cinématorama (fig. 4):
"The aim of this invention is to have spectators travel all over the world without tiring [...]. In the operation of the device, the spectators will occupy the central part of the circumference described by the screen; they will be able to sit down or walk around and, as a result, be able to imagine themselves right inside the projected city."Baron's desire to physically involve the public in the actual development of the show expresses a rationale that would now be qualified as "interactive". In other words, the Cinématorama curiously conciliates two contrasting trends. It is the direct heir of the old "dioramas" that had charmed the 19th century, while also heralding the audiovisual experiments of our times, remarkable in terms of their technical concern with involving the spectator: cinerama, 3D cinema, Imax, or more recently, virtual reality interfaces. While Baron seems to have taken little interest in the choice of the name, Cinématorama or Cinépanorama, he was however more attentive to the many scenic resources that circular projection could provide. His books feature plans for a Cinépanorama in the form of a "mixed panoramic and theatrical operation in a circus hall" (fig. 5), for a colonial Cinématorama (1900) or for a cinematographic Babel which his incredible exuberance relegated to the level of utopia (fig. 6). With the 1900 Universal Exposition on the horizon, Baron was unable to bring his Talking Cinématorama into being. Grimoin-Sanson was to experience difficulties of another kind. His Cinéorama was technically operational but the unbearable heat given out by the projectors--over 45°--definitively prevented his show from being set up! Between 1903 and 1910, Baron managed several companies including the Société du Ciné-Mobile du Petit Journal, which carried advertisements. Several illustrations from the second collection, dating from 1907, show a truck equipped with six devices for the automatic projection of advertising images (fig. 7 and 8). In 1912, the Syndicat des armuriers de France (French Armourers' Union) called on the services of Baron as a consultant engineer. He developed almost 30 weapons of all kinds which were a matter of national Defence and therefore could not be patented. Once peace has been re-established, he returned to his first loves: photography and cinematography. In a caption on one of his later plans (fig. 9), he envisages the great advantages to be gained from a "mixed technology": combining the spectacular features of these projections--panorama, gigantic proportions and animation--with "live" performances by actors. Until 1922, or maybe later, the engineer (fig. 10) hoped to give life to his Cinématorama. A craze that lasted a quarter of a century! Edition: Olivier Delarozière - 18/09/98
Mareorama "The World Exhibition in Paris in 1900 sported several of these optical mechanical theatres. The Mareorama simulated a sea voyage from Nice to Constantinople via Venice. During the simulation, two screens, 40ft high and 2500 ft long were to be unrolled while the viewers stood on a pitching ships deck. The inventor of this system was yet another minor realist painter, Hugo d'Alesi, who spent a year on board ship painting the sections of the screens. A contemporary newspaper report trumpets:
 The Mareorama Scientific American, September 29, 1900
"Few visitors to the Exhibition will be able to resist the temptation ... to make an inexpensive voyage which involves no hazards whatsoever, yet is so natural.... even on the high seas, amid raging elements, one can get out and tread on terra firma at any moment."1
 Excerpt from the Guide to the Paris Expo A larger version may be downloaded
A simulated Trans- Siberian Railway was another mechanical theatre which utilised a complex system of moving backdrops at the Exhibition. The railway was placed strategically nearby the Russian and Chinese pavilions and was built by the Compagnie Internationale des Wagons-Lits. 1 Quoted in DeVries, Leonard, 1971, Victorian Inventions, John Murray, p.126
Recommended Further Reading Online: Major Essays:
Re-integrating Art into its Context:Teaching Art History in the 21st Century
Visions and Illusions: The Art of the Cyclorama
The Great Cyclorama of Jerusalem: SteAnne de Beaupeé
 The Great Cyclorama of Jerusalem http://www.cyclorama.com/eng/accueil.htm click on the image to visit the site
The Cyclorama Building Home Page-Historic Canada / U.S. Border Landmark http://www.grasmick.com/ourhome.htm
Atlanta Cyclorama: The Battle of Atlanta
Coney Island - Thompson & Dundy
The Fire Cyclorama
The Virtual Cyclorama
Books and Journals:
Theater for War: The Gettysburg Cyclorama Holzer, Harold, and Neely, Mark E., Jr., MHQ 5 (Autumn 1992): pp. 81-87
The Gettysburg Cyclorama: A Portrayal of the High Tide of the Confederacy Thomas, Dean S., Gettysburg: Thomas, 48 p. 1989, E475.53T55.1989.
An anthology of some forty key documents in the pre-history and evolution of motion pictures. The text include relevant extracts from such classic, yet elusive sources such as Giovanni Battista della Porta's Magiae Naturalis and Athanasius Kircher's Ars Magna Lucis et Umbrae, as well as the original patent documents for Barker's Panorama, Robertson's Phantasmagoria, Edison's Kinetoscope and Lumiere's Cinematographe. Some of the documents are reproduced here for the first time.
The Atlanta Cyclorama ; Kurtz, Wilbur G:,1954. City of Atlanta, Georgia. Very Good large Size paperback with light wear along spine., 32 pgs, Attractive souvenir of the Atlanta Cyclorama: A large painted wall painting depicting the fall of Atlanta to the Northern Yankee, Explanations about the painting and history of Atlanta. Scene was painted in 1885-1886 by a group of German artists at Milwaukee, Wisconsin. This work was done in the studios of the american panorama co., Wraps. Offered for sale by Dilworth Books
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