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The Pantheon, Oxford Street, published by S. W. Fores, 1791 (coloured etching)
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The Pantheon, Oxford Street, published by S. W. Fores, 1791 (coloured etching)
GHL12503 The Pantheon, Oxford Street, published by S.W. Fores, 1791 (coloured etching) by Rowlandson, Thomas (1756-1827); London Metropolitan Archives, City of London; (add.info.: allusion to the success of the building as a theatre when the Haymarket Theatre was unable to obtain a licence; ); eLondon Metropolitan Archives; English, out of copyright
Media ID 23346610
© London Metropolitan Archives / Bridgeman Images
Audience Royal Box Theatrical Costume
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EDITORS COMMENTS
This vibrant and captivating print showcases "The Pantheon, Oxford Street" as it was published in 1791 by S. W. Fores. Created by the talented artist Thomas Rowlandson, this coloured etching transports us back to a time when the building served as a thriving theatre in London. The image captures the interior of The Pantheon, with its grandeur and elegance on full display. In the foreground, we see an array of beautifully dressed women dancing gracefully in theatrical costumes. Their movements are fluid and enchanting, bringing life to the stage. At the center of attention is a couple engaged in an intricate dance routine. Their skillful execution mesmerizes both the audience seated below and those occupying the royal box above them. The atmosphere is electric with excitement and anticipation. Rowlandson's attention to detail allows us to appreciate not only the performers but also every aspect of this magnificent space. From ornate chandeliers hanging from above to meticulously designed architectural elements surrounding the stage, no element has been overlooked. "The Pantheon, Oxford Street" serves as a testament to its success as a theater during a time when obtaining licenses for such establishments was challenging. It stands tall as a symbol of resilience and creativity within London's entertainment scene. This remarkable print offers viewers an opportunity to immerse themselves in history while marveling at Rowlandson's artistic brilliance.
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