New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1880-12-27
ART ON ThE STAGE.

no 9th branch OF painting Just like it, either in the va
riey CT subjects embraced In the methods employed
The thorough scenic tist must be equally at nome III
landscape or marine work, architectural or freseo
He is permitted cultivate any par icular braAch
of his ar any favorile style. lie mus; be aoie 10
produce NJ any time TIE wild mounVinous passes OF
Swiz rand the fiat meadows OF Holland; the green
lanes OF home-like England the winding VaIeyHo'
Spain. In mis- architectural WORK nc o"hho'
devote hms self 10 tie Gothic or the EOmanesqne, oui
must be equally master Of Moorish the Greek ana
the Oriental may be called npon TO paint the
Tempe of Minerva. and tomorrow The Mosque OF omar;
tins Windsor Hotel and next week inc f"iace
Of Versa lies HIS art knows 10 boundaries. and his
scope confined by limits. The universe must DC AZ
hs comm nj aud things mus, live IN ms lnagl-
nation the methods by WI ch he works and many o!
the materials employs altogether different from
those employed by The ordinary oil or water-color
painter Taey approach moro nearly to th15e OF me
later, yet here certain qualities OF the colors
used by The painter constitute sharp, dividing
line
In the first place, the ordinary watercolor painter
work. upon pepper The scene PALMER uses canvas. lie
frst pa,ebo1rd model Of his and gives II
@ tle who builds the framework and
pcStes tie canvas upon IT, Ii then ready for tho
" faint frame" This is huge wooden affair upon
ropes. " tn counterweiSns attached. II is usually
placed against the wall ut the back or Of The
ana has winOlass attached by which u may 70 hosod
and lowered. Tho artist works upon br dgc built in
Jnt II Ihis frame aud az ITS top when the bottom Is
tCuch!ng the stage. BY hosting lowering the paint
frame ne Is enabled reach part 81 his lie
is provided with plenty of brushes, ranging from heavy
twopound h. such is used los painters, TO
small sharp for drawing fine lines. In addition 10
these several tewaSh brushes for laying in fiat
washes and skies. His colors kept IN buckets tin
cans and earihcnware vessels. His palstte a long
table with partiuoned compartments the top 10 hold
small quantities of color. GIVE him his palette
knife his ru,r. plenty of Irvine and sticks Of charcoal
and heis ready to go TO wO<. HIS first duty Is 10
prime" HIS Tins done with plain coat Of
This color and all others used by him mixed
with sizing winch is simply weak solution OF glue.
work ng with cOluTs mixed IN TINS IS called painting
i'll dstemuer and certain ADVANTAGES which VIII he
spoken OF further The pruning ccat Is laid on with
a heavy wailewash brush beng taken 10 drive the
color well into the canvas. Sometimes heavy un-
bieached muSlln used bur the usual material l. dAcK
Alter the canvas Is pr med and dry, the artst Is
ready Most paint rs DO their first draw
ing IN IA v,ry manner Ater TIE charcoal out
lue is nnsDed II gone carefully with an ink pre-
pared especially for the purpose and hot used IN any
other branch o. arr. In architectural drawing his part
of the necessarily cone WIFI The Creates care as
regularity OF OUT mt aud accuracy Of detail are absolutely
necessary. painters outline for landscape,
however, looks very much ike the OF haDl outline pro
duct,ons hastily done old hand at sEotcAing fr
nature. The painter must Doe MASTER OF GER
secllve for rect SCENES and palace cOrrcors
QUently produced 10y him The method of drawing m
Irrespective large scale is curlOU. tLOngn 9db,idu
iav me saI1e as that usually employed Tue artist
selects ms vanishing POM" usu,i.J outside OF hs
scene and IL Dt pm long piece 0Y tvlnr
r. gnulIg al the TOD of he scene he iu.rks or in the
fore II uunG distances between ms lines He then
backens tho with charcO a. and laYuS the loose
eLd on lis first mark, draws tSht snaps IT upon
the scene, max line In the sanle manner as car
penter dses upon long board. Those Ines are after
ward zane over with INK ana ruler Ia TINS way he IL
able prouu perfect perspective ExIeror scenes,
in winch castle other lai-e building appear Of en-
have The perspective increased III effect by continuing
wal rampant down tue stage upon " separate piece
set exactly Ia the line OF perspective.
SECRETS OF The SCENE PAINTER.
The next step IL the laying III OF the groundwork.
Tie SKY Is of course, mrs. point TINS done wiki
wLitewash brushes, the painter beng absolutely free
from in his method of putting on the color
The principal point Is to get ON quickly And here the
great advantages of panuhg in dsemper become THOR
ougl.y PLAN. These advantages are two In number;
,h rst * mat the color very quickly thus afford
ing The artist high Of speed III working; secondly
All hc eolors retain dry precisely the same tint as
,hay had before beng mixed The ADDITION Of the sizing
exch color several shades darker thln it is when
go, y m tbe poNdered state The know edge OF tins
fat ana thorough understanding OF tue al CT tine mus
will produce after drying OF the great secrets OF
~, o., painters OF high standing have been known
10 try the distemper method with utterly dsasrOu- Ie
shades ana remain dark. C,lors mixed with szDg al
ways dry out 10 their orlslnsl snaoe ora ,re
nc rue var ETY. IN the schools OF scene painting as III
other branches OF art Inc Gtruian frehcn anu Auet
can artiss u,e Opaque WASHES or as IL rs usuaa5 e1
Yressrd work In body Color The Engusn schOOl, IL
b,eh ue
saectye Morgan MarstOD Fox ana NOrgtlin are among
amd mir ne nod ~ gradually spreading smong the art
a. M rms country Its rapdy may he jldeed from the
ise i s twenty by thirty feet IN four
one OF the greatest differences IN scene palIhR IRON
ordinary watercolOr painting IA hat We tEe coiors OF
the latter are transparent those OF the former are
Opaque. For instance th waeTcoor PIter Sn lay
win Ia ht coat of madder laKe can transform IL 10
seTs would not allow The yellow to show but would
completely hide IT, aLd the unt prrseIae 80 "ot' QUIZ,
be nTr pink From tact results total dnere &c III
ne Naming OF foliage Tue watercolor painter lays IN
his light tns first and puts IN his shadows alter"aE
nv. ane na,nter may do tins or not rs he peases. lie
ma mt his gnt over MS dark ones and hey WiI
not lose any their briliacy Tue a1Va9tago o. tns
a. card 10 speed be easily seen IL tue water,
color painter wishes put high hght in the nlide OF
ton of ms TINT, else put on heavy spot OF Chinese
waite over tho spot tnus erased or WhIheu nc pdts
III roundabout process for he simpy dots IN his hight
color wherever he needs over the DARKER sade anu
SLnus with perfect brilllancy. Again, in pduiing
.k,es the scene painter by method OF MS own
not unlike that adopted by OIL painters me water
~ben puting III tue color. ana IS Obliged to wOrk
with this vet the scene painter may LAY III the en-
Ger IL aIterward II the ordinary Waer-c0l0r pa nter
Owe, :. DO his mi, clouds would be green
Ts ~ boweyer work their entire skies TDc
sf~ct OF a sky painted thus lie always very hne; put
81 an artist thoroughly conyersant with the values
y, b,s several pigments do this. For the coors 1t
will be mDered, present very dlnrrent appear
ace when wet from that which they have wnen dry.
Srs nantug nLs become so important an art that
on iarge firm TINS city makes great speciality Of
ene rsad materials There Ia long list OF cOors and
nt,sr Things used exclusively IN sceOlc art ana I'M
osnei 80 are being constantly made. Formerly
pn naiuters were Obliged 10 grand thor own cOOfs
snt these are prepared III " iu is, gIounu
Among the cOors used almost eXclnslVely by
-. NC artisfs are English Pans WHIT, zhc white SILVER
~hitr drop bscG, Frankfort D1ck' IutHSy uniDers'
,aY,as Co Ogne earth, Dutch pluK Schweiniur-
ther greei NCuwcder green, uirsmafIe green BreEen
tIne azure blue. Persian scarlet iurke' Ieu tuscan
1 soerino Magenta, Munich lake. Florenllne lahe,
Vienna axe ana blue lake Some OF heSe cooIs are aih1
g., fr.scn naInters. Those wnch ait never used
cent Inv scent artists celestial niue golden oc1res
O.n iates Mlori greens. French green ana yellow
green e. nInr. suecla y mpOrted Tor scsne pain eis
a,e c.rnaon royal puppies, green axes ana IN" Eng
81 or,oues Indigo T. used III very large quantities by
.caoSc artists but II use very moderately ~ "dbT-
eIr srtIstg IL adds considerably 10 the expense OF
,V, nm scenery as costs 81 90 per pound III ufy
go ma 81 rs IN puo. The m0si expensive colors
royal rose IN " rs per pound SCARE, lake - 80