Mr. Banvard's Panorama
This example of historical fiction is written as a letter, and tells us some real facts about the early days of "moving pictures."
The forerunner of the modern "movie," was a "moving panorama," a painted scene that was scrolled across the stage accompanied by narration.
Mr. Banvard's Mississippi Panorama was a real 19th century attraction.
October 17, 1847
Dear Owen,
Last night, Father took me to see Mr. Banvard's panorama. What an amazing experience it was!
When we arrived at Amory Hall, a noisy crowd was already assembled. For months, the Boston newspapers have been full of descriptions of the panorama. All of Boston is buzzing over the spectacle.
Note the date of the letter and the setting of the event.
The railroad has even scheduled special express trains from outlying villages. Like everyone else, we were curious to see what the Boston Herald is calling a "revolutionary form of entertainment."
When we arrived, the piano inside the hall played softly in the shadows as people settled quickly into rows of chairs facing the stage. In front of us sat a huge wooden structure, like a giant picture frame at least twelve feet square, covered with a red velvet drape.
When the house lights dimmed and the stage lights flared, a dashing man in a travel suit stepped onto the stage. "I am John Banvard," he said.
"On my journey I have seen many wonderful things and experienced many wonders. I made thousands of sketches during my adventure. When I returned, I labored for over a year to make a record of my odyssey in paint. Tonight you will see what I have created -- a picture three miles long. Ladies and gentlemen, the world's largest painting!"
Mr. Banvard stepped aside with a sweeping motion of his hand. Two assistants appeared and slipped the velvet cover from the wooden frame, revealing a beautiful painting that was bigger than any I have ever seen. Owen, I wish you could have seen it.
It was a wild river scene. Rapids foamed over gray rocks, sparkling wet in the morning sunshine. My dazzled eyes could hardly take it all in. In the flicker of the gas lamps, the painting seemed to dance and glitter. We were all entranced. Murmurs filled the theater.
Then, the painting began to move! Slowly, the giant canvas slid silently and smoothly sideways inside the wooden frame. Yet another river scene, even more breathtaking than the one before, came into view. I felt as if we were actually on the deck of a steamboat drifting along the river.
"Come along with me, my friends, on a voyage down the Missouri and the Mississippi." Mr. Banvard's warm and wonderful presence seemed all around us in the darkness.
Father says that the canvas is rolled on two huge cylinders, or drums, like a great scroll. Assistants backstage turn cranks that pull the canvas slowly and smoothly through the wooden frame. An ingenious system of ropes and pulleys keeps the immense painting on track. None of the extraordinary mechanism was visible.
Indeed I became so lost in the experience, I forgot that I was even in a theater, looking at a picture. Actually, it was a succession of more than forty paintings that were skillfully and seamlessly woven together.
For the next two hours, we traveled with our jovial guide, past some of the most beautiful scenery in the world. Or, rather, the canvas moved before us, giving us the sensation of movement. The whole time, Mr. Banvard's witty, intelligent narration propelled us pleasantly along. He pointed out towns and sights of interest, gave fascinating facts about everything, and reeled off a seemingly never-ending supply of thrilling and amusing stories.At one point, for example, the scene darkened. The musical accompaniment grew shrill and harsh. "This is Plumb Point by moonlight," Mr. Banvard said in a low dramatic tone. Then he began to tell us how he had tied up for the night and had been attacked by bandits. Only a desperate cutting of the lines saved him and his boat.
During the tale, a little girl next to me actually gripped my arm anxiously. "It's only a story, remember," I whispered. In a moment the dark scene was gone, replaced by a stunning, rosy sunrise over a bend in the river. A doe and her fawn drank knee-deep in golden water. The child released my arm, giggling with embarrassment.All too soon, we reached New Orleans -- your hometown -- and the end of our journey. "The Crescent City" glowed like a jewel in the southern sunshine. I felt as if I had come there to visit you. Then the house lights brightened again, and the show was over.
For a moment, everyone sat in silence, staring at the now-dim, static painting. Suddenly, the spell broke.
Suddenly, as if it were one person, the crowd leaped to its feet. Applause thundered in the theater. Mr. Banvard appeared again on stage, bowing and smiling, while the crowd cheered on and on for nearly half an hour.
Father says the word panorama means "to see everything." I'm not sure that truly describes Mr. Banvard's panorama, but it certainly comes close.
If he brings his show to New Orleans, you and Aunt Sophie absolutely must see it. It's well worth the admission price of fifty cents, so start saving your pennies for your journey down the Missouri and Mississippi.
Your fond cousin,
Julianna Preston
Think About It
Look back to the passage to help you answer these questions.
1. The main idea of Julianna's letter is to express that --
A. her cousin, Owen, should save his money
B. Mr. Banvard's panorama depicts a once-in-a-lifetime experience
C. her father is very knowledgeable about New Orleans
D. Boston is a cultural and entertainment center
2. The panorama is most likely described as revolutionary because --
A. it promotes social unrest
B. it was produced just prior to the Civil War
C. it spun around on drum-like wheels
D. it was new and different
3. The writer's father is in the story to provide --
A. a less serious tone
B. an opposing point of view
C. detailed technical information
D. the clever commentary
4. Which best describes Mr. Banvard's use of musical accompaniment?
A. It was used sparingly.
B. It was pre-recorded.
C. It paralleled the tone of the action.
D. It was always shrill and harsh.
5. The writer adds the detail of the little girl next to her gripping her arm anxiously in order to --
A. show how realistic Mr. Banvard's panorama was
B. create sympathy for the little girl
C. illustrate the theme of Mr. Banvard's story
D. set the tone for the conclusion of her letter
6. Review these sentences from the letter:
Father says the word panorama means "to see everything." I'm not sure that truly describes Mr. Banvard's panorama, but it certainly comes close.
The root word "pan" in panorama means --
A. cast iron
B. all or everything
C. to see
D. to critically acclaim
Answer Key
1. B
2. D
3. C
4. C
5. A
6. B