Martinsburg independent. [volume] (Martinsburg, W. Va.) 1875-1900, 1889-09-07
THEATRICAL SCENERY.
ON THE PAINT BRIDGE OF A LEAD
ING NEW YORK THEATRE.

| Not long ago stood in the dimneSs and
shadows of the interior of one OF our big
theatres gazing far into the upper realms Of
space above the stage. The scenic painter
was at work, and the platform upon which
he stood and changed blank canvas into
speaking pictures swung and creaked above
the tops of the scenery. How reached that
platform, after climbing up ladders and
walking along an apparently perilous way,
would almost brighten me, even now, to de-
scribe. Finally, however, reached the artist
and made known my errand.
"Give you some points about scene paint
mgr he repeated after me. Certainly
viii, and gladly; be seated, and tell me where
to Rsgin,"
brush in hand, he commenced:
GETTING THINGS TO FIT.
To-day when a manager has decided upon
play and its production, the first person to
whom he has recourse Is the scenic artist II
he is wise In his generation he holds consulta-
ton with him long before any announcement
of the play is made public, and together they
advise upon the character Of the play to be
presented, the location Of scene In which the
action is supposed to take place, the period in
Wn1II tuC 0NCubS ndRkEuf VIC itOuI VI blto UHJ
or night at which they occur, and the time
and expense that viii probably be required
to do justice to the undertaking
Most scenic artists have a fine pictorial
library, and from these pictures, in the col
lection OF which we often expend much time
and money, find landscapes, exteriors and
interiors that befit the play and period, and
submit them to the approval of the manager.
Whau fnuQthar 40
most suitable. have a model OF the scene
made TO scale, and color the miniature
model TO an exact fac-simile that the largo
scene win present whom finished. The di-
mansions being given to the stage carpenter,
he purchases the lumber and other material
and constructs the scene to the size required,
and when completed places the scene In this
paint frame, which is, you see, mechanical
contrivance constructed usually against the
rear or side wall of the theatre, and suspend
ed by ropes leading to windlass Ia the fly
gallery.
"See, here is the fly gallery" he continued,
indicating a wooden platform elevated con-
siderably above the stage on either side Of it,
land from this are worked the sky borders
and the ceilings used in play observed
that the paint frames one of which was sus-
pended on each side of us, could be raised or
lowered, as the artistrequired to suit his con-
venience as his work advanced.
This floor upon which we stand is a plat
form which is termed paint bridge, and it
is one of the most commodious have ever
seen, having all the space and conveniences
needed to accommodate the paraphernalia
used In the execution Of the work Standing
upon this we paint the scenes hanging in the
paint frames.
1.-THE canvas you see is o strong, heavy ma
terial called Russian linen, and before paint
ing is begun upon it my assistant carefully
and thoroughly vets IL all over with size
composed Of whiting, glue, alum and water.
This process is called printing. When this Is
done sketch In the outlines of my scene.
which may be either landscape, architectural
exterior or interior, and it is ready for the
colors to be applied"
isn't this called painting in distemperr'
inquired
YES" he replied. MANY people who are
not familiar with scene painting ask me if it
isn't done in oil. Now, ON the contrary, not
drop of oil is used, in the first place, it
would increase the weight of the scenes and
make them more difficult to handle, and,
of fire, against which In these days we take
show you my palette"
Istarted, but he did not open his mouth fur
Their than to utter the remark, and pointed
instead to a solidly built table, about five or
six feet long, mounted on castors, which al
lowed 1t to be moved to any part of the bridge
most convenient to his work. noticed 1t
was fitted with compartments to contain the
necessary colors, and that the brushes lying
near were Of all sizes, fat and round, varying
from fine to others of several inches width.
JUDGMENT AND SKILL.
"What kind of colors are these you usei"
1 asked, pointing to the little mounds OF
paints that occupied the divisions ON the pail
cite table.
"They are powdered colors of the best
quality, and mixed with glue and water" he
answered, taking the brush he held in his
hand, deity applying 1t to the canvas in
front of us. He worked rapidly and surprised
me by the handsome and striking effects he
produced with few quick but well consid
cred strokes. Experience, Judgment and skill
were needed, saw, In placing the colors
upon the canvas, as being applied wet they
looked several shades darker than they APP
peared on the adjacent work, which had
dried.
Turning again toward me he resumed the
conversation, saying: "Now, when have FIN
ished the painting Of this scene, it viii be
lowered in the paint frame to the stage,
where the carpenter again takes it in hand,
fastens it together and sets it up TO be In
spected and approved by the management"
as the production Of elaboratesscenery a
very modern idear'
well it's only within the last thirty years,
should think, that SO much time and
thought have been spent upon the subject.
Managers now appreciate the value Of elabor-
ate scenery. 1t forms today most import
ant feature Of stagecraft, and 1t cannot be
denied that the foremost players recognize
the importance Of pictorial setting, and for
the most part are willing and DESTROYS TO sub
ordinate their abilities and benefit by the as
sistance Of grand spectacular display.
suppose the London pantomimes, which ofn-