Louis Daguerre - Diorama Theatres

Diorama Theatres

In the spring of 1821, Daguerre partnered with Charles Bouton with the common goal of creating a Diorama theatre. Daguerre had expertise in lighting and scenic effects, and Bouton was the more experienced painter. Together they made an astounding team. Their strengths made extraordinary contributions to art, theatre, and science. However, Bouton eventually withdraws, and Daguerre acquires sole responsibility of the diorama theatre.

The first diorama theatre was built in Paris, adjacent to Daguerre’s studio. The first exhibit opened July 11th, 1822 showing two tableaux, one by Daguerre and one by Bouton. This would become a pattern. Each exhibition would typically have two tableaux: one by Daguerre and Bouton each. Also, one would be an interior depiction, and the other would be a landscape. Daguerre hoped to create a realistic illusion for an audience. He wanted audiences to not only be entertained, but also awe-struck. The diorama theatres were magnificent in size. A large translucent canvas, measuring around 70ft wide and 45ft tall, was painted on both sides. These paintings were vivid and detailed pictures and were lit from different angles. As the lights changed, the scene would transform. The audience would begin to see the painting on the other side of the screen. The effect was awe-inspiring. “Transforming impressions, mood changes, and movements were produced by a system of shutters and screens that allowed light to be projected- from behind- on alternately separate sections of an image painted on a semi-transparent backdrop” (Szalczer).

Because of its size, the screens had to remain stationary. Since the tableaux were stationary, the auditorium revolved from one scene to another. The auditorium was a cylindrical room and had a single opening in the wall, similar to a proscenium arch, through which they could watch a “scene”. Audiences would average around 350, and most would stand, though limited seating was provided. Twenty-one diorama paintings were exhibited in the first eight years. These included ‘Trinity Chapel in Canterbury Cathedral’, ‘Chartres Cathedral’, ‘City of Rouen’, and ‘Environs of Paris’ by Bouton; ‘Valley of Sarnen’, ‘Harbour of Brest’, ‘Holyroodhouse Chapel’, and ‘Roslin Chapel’ by Daguerre.

The Roslin Chapel was known for a few legends involving an unconsuming fire. The legend goes that the Chapel has appeared to be in flames, just before a high status death, but has later shown no damage from any such fire. This chapel was also known for being unique in its architectural beauty. Daguerre was aware of both of these aspects of Roslin Chapel, and this made it a perfect subject for his diorama painting. The legends connected with the chapel would be sure to attract a large audience. Interior of Roslin Chapel in Paris opened September 24, 1824 and closed February 1825. The scene depicted light coming in through a door and a window. Foliage shadows could be seen at the window, and the way the light’s rays shined through the leaves was breath-taking and seemed to “go beyond the power of painting” (Maggi). Then the light faded on the scene as if a cloud was passing over the sun. The Times dedicated an article to the exhibition, calling it “perfectly magical”.

It became a popular new medium. Imitators arose. It is estimated that profit reached as much as 200,000 francs. This would require 80,000 visitors at an entrance fee of 2.50 francs. Another Diorama theatre opened in London, taking only four months to build. It opened September 1823. The most prosperous years were early to mid 1820s.

The dioramas prospered for a few years until going into the 1830s. Then, inevitably, the theatre burned down. The diorama had been Daguerre’s only source of income. At first glance, the event was tragically fateful. But the enterprise was already close to its end, thus losing the diorama tableaux was not completely disastrous, considering the funds granted under the insurance.