On entering the edifice by the large door in front, a staircase on the right leads to a passage, which communicates with a circular saloon hung with coloured drapery. This room, which, when finished, will be the largest of the kind in London, occupies the whole internal space, or the basement of the building, with the exception of the staircase leading to the summit, which rises like a large column from the centre. This circular saloon is intended for the exhibition of paintings and other productions of the fine arts; and it redounds highly to the credit of Mr. Hornor, that this exhibition is to be entirely free of charge to the artists. Such an introduction of their works to public notice cannot fail to prove mutually advantageous. It may be here necessary to state that the wall of the building represents a panoramic _View of London_, as seen from the several galleries of St. Paul's Cathedral--and that the view of the picture is obtained from three galleries--the _first_ of which corresponds, in relation to the view, with the first gallery at the summit of the dome of St. Paul's; the _second_ is like that of the upper gallery on the same edifice; and the _third_, from its great elevation, commands a view of the remote distance which describes the horizon in the painting. Above the last-mentioned gallery is placed the identical copper ball which for so many years occupied the summit of St. Paul's; and above it is a fac-simile of the cross by which it was surmounted. Over these is hung the small wooden cabin in which Mr. Hornor made his drawings for the picture, in the same perilous situation it occupied during the period of the repairs which some years ago were done to the cathedral. A small flight of stairs leads from this spot to the open gallery which surrounds the top of the Colosseum, commanding a view of the Regent's Park and the subjacent country. The communication with the galleries is by staircases of curious construction, built on the outer side of the central column already mentioned. This column is hollow, and within it a small circular chamber is to be caused to ascend when freighted with company, by means of machinery, with an imperceptible motion to the first gallery. The doors of the chamber will then open, and by this novel means of being elevated, visiters may avoid the fatigue of ascending by the stairs, and then walk out into the gallery to enjoy the picture.