On January 27th, 1772, The Pantheon opened on Oxford Street, London. Designed by James Wyatt, The Pantheon featured a rotunda which was one of the largest rooms in England at the time. The Pantheon was intended as London\u2019s answer to Ranelagh Gardens for winter entertainment and opened to a crush when nearly \u201ctwo thousand persons of rank and fashion assembled.\u201d The Pantheon officially closed for public entertainments in 1814, after Lord Chamberlain restrictions on the building\u2019s use as a\u00a0theatre made the final venture unprofitable. It was converted to a\u00a0bazaar in 1833\u00a0and in 1867 became a winemakers office and showrooms until being demolished in 1937.<\/p>\n\n\n\n
From 1819 Ackermann: The Pantheon was built \u201cfor the purpose of public evening entertainments\u201d and was a \u201csuperb and beautiful structure\u201d with elegant interiors furnished with fine paitnings, gilt vases, and statues depicting gods and goddesses.\u00a0 The building consisted of a suite of fourteen rooms, and between 1789-1792 (until a fire) was used as an exhibition space for Italian operas after the destruction by fire of the King\u2019s Theatre in Haymarket.<\/p>\n\n\n\n
1814 January The Pantheon\u00a0 via Ackermann\u2019s Repository\u00a0: This once noble structure, situated on the south side of Oxford-street, was originally built by Mr. James Wyatt, for the purpose of public evening entertainments. It was a most superb and beautiful structure, the admiration of all connoisseurs, foreigners as well as natives. The interior was fitted up in such a magnificent style, that it is scarcely possible for those who never saw it to conceive the elegance and grandeur of the apartments, the boldness of the paintings, or the effect produced by the disposition of the lights, which were reflected from gilt vases. Below the dome were a number of statues, representing most of the heathen gods and goddesses, supposed to be the ancient Pantheon at Rome, from which it derived its name. To these were added three beautiful statues of white porphyry, representing the King and Queen and Britannia.<\/p>\n\n\n\n
The whole building formed a suite of fourteen rooms, each affording a striking specimen of taste and splendor. After the destruction of the King\u2019s Theatre in the Haymarket by fire in June 1789, the Pantheon was used for the exhibition of Italian operas, and was frequently honored with the presence of their Majesties; till on the 14th of January, 1792, this beautiful structure also fell a prey to the same devouring element.<\/p>\n\n\n\n
The fire broke out in the new buildings which had been added for the most convenient performance of operas; and before any engine reached the spot, the flames had gained such a height, that all attempts to save the building were in vain. Owing to the scenery, oil, paint and other combustible materials in the house, the conflagration was so rapid that not a single article could be saved. Persons who witnessed the progress of this tremendous fire, declare that the appearances exhibited through the windows, the lofty pillars enveloped in flames and smoke, the costly damask curtains waving from the rarefaction of the air, and the superb chandeliers turning round from the same circumstance, together with the successive crashing and falling of different portions of the building, furnished to their minds a more lively representation of Pandemonium than the imagination alone cam possibly supply.<\/p>\n\n\n\n
The effects, too, of the intense frost which then prevailed, upon the water poured from the engines upon the blazing pile, are described as equally singular and magnificent. The loss occasioned by this catastrophe amounted to \u00a360,000; only one fourth of which sum was insured. The height of the walls fortunately prevented the conflagration from spreading to the contiguous houses.<\/p>\n\n\n\n
The Pantheon has been rebuilt; the original elegant front and portico still remain, but the rest of the edifice exhibits not eve a shadow of its former magnificence. Since its re-edification, it has been used principally for exhibitions, and occasionally for masquerades. Various plans have at different times been brought forward for opening it for dramatic representations; and this was actually done a few months since under a license from the magistrates, by a Mr. Condy, who is understood to have embarked a considerable fortune in the concern; but whose right has been contested by the winter theatres, and is likely to become a subject of legal discussion.<\/p>\n\n\n\n
1800 Pantheon Masquerade, London, U.K. via Rudolph Ackermann’s Microcosm of London. Engraved by John Bluck. (1791-1831)<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":"![\"1800](\"https:\/\/suzilove.files.wordpress.com\/2021\/05\/regency_1800_pantheonmasquerade_ackermannsmicrocosmoflondon_engravedbyjohnbluckfl2-1.1791-1831_graphic_lge_med.jpg\")
<\/a><\/figure>\n\n\n1800 Pantheon, London. via Ackermann's Repository. #RegencyEra #London #RudolphAckermann https:\/\/books2read.com\/suziloveROver <\/a><\/span>Share on X<\/a><\/span>\n\n\n<\/a>